Private Life Of Sherlock Holmes, The Movie Script

SHERLOCK HOLMES
Written by
Michael Robert Johnson,
Anthony Peckham & Simon Kinberg
Sherlock Holmes and Watson characters created by
Sir Arthur Conan Doyle
September 29, 2008
1.
FADE IN:
1 EXT. STREETS OF LONDON - NIGHT 1
Autumnal streets seen through the sooty glass of a STREET
LAMP. Shadows within shadows. Fog in the air. Full
moon.
WATSON (V.O.)
The year was 1891. London was the
capital of the world -- the height
of modernity, with the hiss of
steam and smell of coal in the
air. It was also the great
cesspool into which all the
sinners and criminals of the
empire drained.
Gas hisses audibly, the street lamp ignites, and casts a
POOL OF LIGHT onto the street, silhouetting a MAN making
his way through the fog and dark shadows with a lantern.
WATSON (V.O.)
I had come to London, ten years
prior, to find a life after the
Afghan war. I had hoped to start
a medical practice and settle into
a nice, steady existence. The
life I found was anything but nice
and steady.
We can see that the MAN wears a cape. The distinctive
silhouette of his deerstalker hat is unmistakable. A
FURIOUS CLATTER OF HOOVES APPROACHES in the distance.
The MAN tugs on a pipe and turns towards the growing
stampede.
WATSON (V.O.)
And that had everything to do with
one man. My friend, my partner,
my burden...
The MAN exhales a plume of smoke calmly, giving us the
impression that he knows something that we don't.
WATSON (V.O.)
... Sherlock Holmes.
WHAM! The MAN in the deerstalker hat is KNOCKED FLAT by
A RUNNING MAN who has vaulted over a wall, sending him,
his pipe, and hat flying across the cobbles.
(CONTINUED)
2.
1 CONTINUED: 1
The RUNNING MAN leans down as if to assist, but instead
just picks up the smoker's broken umbrella and studies
it. The MAN in the deerstalker hat's eyes widen as he
recognizes his famous assailant.
MAN
Sherlock Holmes?!
SHERLOCK HOLMES offers the handle of the umbrella to the
MAN, hauls him to his feet and hands back his broken
umbrella.
HOLMES
My apologies. Send the bill to
John Watson, 221B Baker Street.
Sherlock Holmes sprints off down an alleyway. The MAN
takes a step into the road to watch him go --
-- and is nearly flattened for good by the first of a
number of POLICE CARRIAGES, hurtling by on a serious
pursuit, Victorian-style.
2 2
INT. CARRIAGE - CLOSEUP ON THE OFFICERS - NIGHT
inside. Big, uniformed guys assemble their weaponry -- a
19th century SWAT team. One man stands out as a leader,
older than the rest, INSPECTOR LESTRADE.
A man in plainclothes sits to one side of the officers:
DR. JOHN WATSON, physically as tough as anyone else in
the carriage, but with a more pensive air about him. A
thinking man of action.
3 EXT. STREETS OF LONDON - NIGHT 3
Almost tipping over, the carriage turns onto the
Embankment and hurtles through the writhing fog along the
river.
As the carriage banks, we see Holmes cut across the
carriage path again, taking a line the horses cannot
follow.
CUT TO:
ANOTHER ANGLE
Holmes bursts out of an alley, sprints round a corner and
runs across a courtyard to a side door.
WE PULL BACK to see the FACADE OF ST. PAUL'S CATHEDRAL.
3.
4 OMITTED 4
5 INT. CATHEDRAL CRYPTS - ENTRANCE - NIGHT 5
Holmes enters through the door and stands at the top of a
stairwell. He takes a moment to recover; he's fit, but
not as fit as he used to be.
Holmes descends the stairwell to a door and a spiral
staircase beyond it. He stops at the doorway and peers
round the corner.
A lantern glow ascends the spiral stairway towards
Holmes. Holmes withdraws into the shadows behind the
door. A BOWLER-HATTED MAN ascends the stairs, carrying
the lantern and a gun.
He peers behind the door and holds the lantern up to the
shadows, but does not see Holmes, who has pulled his
black jacket up to conceal his face. The man swings the
lantern away again. He peers about, confused.
We see Holmes' eyes from the shadows, as he lowers his
jacket and thinks through his plan of attack.
HOLMES (V.O.)
Head cocked to the left, partial
deafness in right ear. First
point of attack.
PRE-VISUALIZATION IN VARI-SPEED
FOCUS ON the spot behind the man's right ear, just at the
top of the jaw -- the most vulnerable point. Holmes
launches a hammer blow, and we ramp from 24 fps to 400
fps (ULTRA SLOW MOTION) as he makes contact. The man's
head is thrown back as he spins round.
HOLMES (V.O.)
Then throat, paralyze vocal
chords, stop screaming.
BACK TO 24 fps. The man's mouth opens to cry out. We
RAMP BACK UP TO 400 fps as his Adam's Apple is struck
with a precision karate chop, strangling his scream.
HOLMES (V.O.)
Stink of alcohol, heavy drinker --
knuckles to liver.
BACK TO 24 fps, RAMPING TO 400 fps as a devastating
knuckle-punch to the liver doubles up the bowler-hatted
thug and crumples him to his knees.
(CONTINUED)
4.
5 CONTINUED: 5
SECOND-TIME ACTION - SUPER FAST REPEAT OF ABOVE
Holmes flashes out of the shadows, moving so fast that we
can barely see what he's doing.
THWACK! Hammer blow to ear.
CRACK! Karate chop to throat.
WHAP! Knuckle punch to liver.
BACK TO NORMAL MOTION as the man crumples to the ground,
Holmes takes his bowler hat from his head and flips it
onto his own in one super fast move.
Holmes drags the battered man into the shadows, lifts his
lantern and proceeds down the spiral staircase.
POV - BOTTOM OF THE SPIRAL STAIRCASE
Another bowler-hatted THUG approaches the bottom of the
staircase. He has seen the lantern light. He draws his
gun and approaches. Holmes places the lantern on the
post at the bottom of the bannister, ducks down into the
shadows.
THUG
What's goin' on, John?
When he gets no answer, the THUG points his gun to where
we saw Holmes hide.
But Holmes appears from the shadows behind the THUG,
reaches around him, grabs his gun hand and pistol-whips
him twice with his own gun, dropping him.
Holmes extracts a cigar from the Thug's top pocket and
sniffs it appreciatively.
HOLMES
Hhhmm, good cigar. Who do you
work for?
He jams the cigar in his own top pocket, picks up the
man's bowler and proceeds on, further down into the
crypts.
6 6
OMITTED
7 INT. CATHEDRAL CRYPTS - BALCONY - NIGHT 7
TWO HARD MEN in bowler hats stand guard.
CUT TO:
(CONTINUED)
5.
7 CONTINUED: 7
ANOTHER ANGLE
Holmes surveys the scene AT A DISTANCE, out of sight.
Eyes alive with intelligence, processing angles when --
A HEAVY HAND falls on his shoulder. PULL BACK to
reveal --
(The following exchange in whispers.)
HOLMES
Watson. Perfect timing.
WATSON
Nice hat.
HOLMES
Just got it. Where's Lestrade?
WATSON
Getting his troops in formation.
Is that your blood or theirs?
HOLMES
I don't know. It's an old shirt.
WATSON
You left this behind.
Watson hands him his pistol. Holmes looks at it with
distaste, doesn't take it.
HOLMES
Knew I'd forgotten something.
Thought I'd left the stove on.
WATSON
You did.
HOLMES
Right. Shall we?
This is what they do. This is what they like.
CUT TO:
ANOTHER ANGLE
The two HARD MEN on guard turn fast and gather together
as they hear footsteps approaching.
MAN #1
Des?
(CONTINUED)
5A.
7 CONTINUED: (2) 7
He can see the hat, but not the man underneath.
WATSON
Yeah, s'me.
(CONTINUED)
6.
7 CONTINUED: (3) 7
Watson takes out the two men. He is more of a brawler,
using headbutts, knees, and elbows. Less artful, but no
less effective.
8 OMITTED 8
9 INT. CATHEDRAL CRYPTS - BALCONY - NIGHT 9
Thugs dispatched, Holmes and Watson look down and see a
chilling sight.
A WOMAN IN WHITE LIES INSIDE A CRUDELY-PAINTED PENTACLE
(five-sided figure), lit with candles at each corner.
Her eyes roll back in her head, trance-like. A sword has
been placed at her feet.
A HOODED FIGURE KNEELS INSIDE A DOUBLE CIRCLE next to the
pentacle. This is LORD BLACKWOOD. We do not yet see his
face.
ANOTHER HOODED FIGURE stands on the edge of the ceremony,
shrouded in shadow. We do not see his face.
Suddenly, the woman rises up like a broken puppet, as if
pulled to her feet by invisible hands.
Some kind of ritual is about to climax.
Holmes and Watson head down, fast, not caring if they
make a noise or not. Their footsteps echo.
9A 9A
INT. CATHEDRAL CRYPTS
The second hooded figure moves back and melts into the
shadows.
Still kneeling, still hooded, Blackwood chants softly,
Latin incantation repeating and repeating.
ON THE WOMAN as her lips start to move in time with the
incantation. This is spooky, real, powerful stuff.
Holmes and Watson leap from the stairs to Blackwood's
level.
Blackwood simply ignores them. The Latin incantation
never stops.
Holmes is closer to the girl, Watson closer to Blackwood.
WATSON
The girl.
(CONTINUED)
7.
9A CONTINUED: 9A
The girl bends with alarming and mechanical suddenness,
picks up the sword and turns it on herself, ready to
plunge the point into her heart.
Holmes lunges, grabs the woman's arm, disarms her and
pulls her out of the pentacle. She collapses.
Simultaneously and eerily the candles extinguish and a
rush of air departs the tunnel.
Blackwood throws back his hood. We finally see his face.
His eyes are intense, he is tapped into something dark
and cruel.
Holmes and Watson are shocked at his identity.
WATSON
Lord Blackwood?!
Blackwood applauds softly, strangely.
BLACKWOOD
Well done, Holmes. And Watson as
well.
Watson raises his gun, trains it on Blackwood.
WATSON
Stay right there.
Blackwood raises his hands in front of him, almost
mockingly.
BLACKWOOD
Tell me, doctor, as a medical man,
how did you like my work?
(beat)
The fifth one was so scrawny, it
was over before I'd finished the
first incision.
That's more than Watson can take. He moves in to pistol-
whip Blackwood --
-- is stopped suddenly by Holmes' hand grabbing his
collar.
HOLMES
No.
Watson struggles forward against Holmes' grip.
HOLMES
Look.
(CONTINUED)
8.
9A CONTINUED: (2) 9A
Holmes seems to be pointing at Blackwood. Watson looks,
sees nothing.
HOLMES
Look.
Watson looks, and sees it and his eyes flare wide.
INCHES FROM WATSON'S RIGHT EYE is the needle-pointed end
of a QUIVERING PIECE OF HIGH-TENSILE WIRE, almost
invisible --
-- the other end held between Blackwood's hands. A
really nasty concealed weapon.
One more step and Watson gets impaled in the eye.
BLACKWOOD
What a shame. That would've been
fun.
We hear heavy boots on the balcony, as Lestrade and his
men finally appear.
POLICEMEN flood the area.
HOLMES
Impeccable timing, Lestrade.
LESTRADE
(vis Blackwood)
Is that -- ?
WATSON
It is.
HOLMES
(re: girl)
We've gone for the doctor...
(re: Blackwood)
And one for the rope.
LESTRADE
You should've waited for my help.
HOLMES
If I had, you'd be cleaning up a
corpse and chasing a rumor.
Besides, the girl's parents hired
me, not the Yard.
(a wry smile)
I can't imagine why they thought
you'd need any assistance.
(CONTINUED)
9.
9A CONTINUED: (3) 9A
Lestrade turns, frustrated. He watches his men yank
Blackwood out of his double circle, put chains on him,
while others carry the girl away on a stretcher. She's
still mouthing the incantation.
Lestrade eyes the double circle, the pentacle, shakes his
head, not understanding them.
Grudgingly, reluctantly, hating himself for needing to,
he turns to Holmes.
LESTRADE
What do you make of that?
HOLMES
Some kind of ceremony. Five girls
killed beneath cathedrals at the
height of the full moon.
(indicating)
The double circle's for his own
protection.
LESTRADE
London will breathe a sigh of
relief --
WATSON
-- at the excellent work of
Scotland Yard. As usual.
HOLMES
Bravo, Lestrade. Have a cigar.
Holmes sticks the villain's cigar in Lestrade's pocket
and --
-- A POLICE PHOTOGRAPHER lifts his massive camera.
FLASH! An explosion of light and sparks as a 19th
century flashbulb pops. The SCENE is FROZEN bright for a
split-second and then it FADES.
CREDIT SEQUENCE BEGINS, MUSIC AND TITLES OVER --
10 10
OMITTED
10A INT. LAB 10A
Dim light from a burner heats fluid in a jar, a bench
strewn with scientific equipment. Gloved hands mix
chemicals in a tray, a piece of photo paper on top.
10.
10B INT. NEWSPAPER LIBRARY 10B
Another pair of hands search urgently through a row of
alphabetized files, coming to rest on the letter "H." A
bunch of "H" clippings hit the desk. The top one reads:
STUDENT AND ARMY DOCTOR SOLVE LONDON MYSTERY! A photo of
Holmes and Watson in their 20s at a crime scene. Their
eyes are shut for the photo, unaccustomed to flashes.
10C INT. LAB 10C
Chemicals are poured over the paper and spread across it.
10D INT. NEWSPAPER LIBRARY 10D
Hands flip through more papers, more headlines: STUDENT
AND DOCTOR BEAT COPS TO THE PUNCH AGAIN! ROOMMATES SOLVE
BRIXTON MURDERS! Another picture of Holmes and Watson.
This time, they look more confident, the article bigger.
Another headline: HOLMES AND WATSON OPEN FOR BUSINESS.
Holmes and Watson stand in front of 221 Baker Street.
10E 10E
INT. LAB
A negative is clipped over the paper. A sudden flash of
light as it is exposed.
10F INT. NEWSPAPER LIBRARY 10F
Another headline: DOCTOR AND DETECTIVE FOIL JEWELRY
SCAM! A picture of Holmes and Watson, holding a goose by
its feet and smiling. The men are front page news now.
More headlines and photos come fast: LONDON DUO DO IT
AGAIN! A shot of Holmes and Watson, older, shaking hands
with a royal. HOLMES AND WATSON SOLVE SEVERED EAR
MYSTERY... CELEBRATED DETECTIVE PROVES GUILTY MAN
INNOCENT... More and more headlines, Holmes and Watson
getting older, solving crimes, and...
The files are moved to another desk where hands punch
text on a vintage typewriter: "CATACOMB KILLER IS
INDUSTRIAL TYCOON LORD BLACKWOOD..."
10G INT. LAB 10G
A faint image is forming on the paper.
11.
10H INT. NEWSPAPER LIBRARY 10H
A hand yanks the paper from the typewriter and onto a
desk where a typesetter begins to assemble the story in
blocks of lead type. Upside down and back to front we
see the words "SHERLOCK HOLMES," one metal letter at a
time.
10J INT. PRINTING PRESS 10J
A roller dripping with ink rolls over the story we have
seen assembled along with an engraving of the image. The
whole thing is fed into a printing press, a whirring mass
of wheels and gears. Papers are bundled and tied, then
distributed until one lands face-up outside the door of:
221 BAKER STREET, where we see the headline "CATACOMB
KILLER CAUGHT!" The photo of Holmes and Watson sits
above the fold, dominating the front page.
TITLE SEQUENCE ENDS.
11 11
EXT. 221 BAKER ST. - AFTERNOON
Autumn has turned to winter.
SUPERIMPOSE: THREE MONTHS LATER
FROM A RAVEN'S POV
We FOLLOW a lady, MRS. HUDSON, walking down the street
with the day's shopping. She picks up a paper with the
day's headline "BLACKWOOD HANGS TOMORROW: CLAIMS PACK
WITH THE DEVIL." She continues down the street until
arriving at 221 Baker Street. A raven lands on the entry
gate, she shoos it away, walks up the steps, and inside.
12 INT. 221 BAKER ST. - WATSON'S APARTMENT 12
Watson takes a blood pressure cuff off CAPTAIN PHILIPS,
an OLDER GENTLEMAN who sports an array of medals. The
room is a tribute to military and medical order -- all is
neat and tidy, everything in its place.
WATSON
71 over 104... very good, Captain.
CAPTAIN PHILIPS
Me nerves are the best they been
in years, thanks to you.
(CONTINUED)
11aA.
12 CONTINUED: 12
Watson is pleased by that.
CAPTAIN PHILIPS
Tell me something -- your new
offices. There won't be so many
stairs, I hope?
WATSON
No -- ground floor. And there'll
be a woman's touch, too.
(MORE)
(CONTINUED)
11A.
12 CONTINUED: (2) 12
WATSON (CONT'D)
I think we can start to wean you
off the medicine --
BANG-BANG-BANG-BANG-BANG! A dozen GUNSHOTS O.S. Captain
Philips hits the floor, terrified.
Watson suppresses extreme irritation, writes a
prescription on a piece of paper, then helps Captain
Philips to his feet.
WATSON
Let's give it a little longer,
just to be safe.
(beat)
I'll be right back.
(CONTINUED)
12.
12 CONTINUED: (3) 12
He heads out, letting his aggravation show once his back
is turned to his patient.
13 INT. 221 BAKER ST. - HALL 13
As Watson exits his apartment and moves down the hall,
MRS. HUDSON, his landlady, shoots up the stairs with the
paper. Her nerves are almost as bad as Captain Philips'.
MRS. HUDSON
(panting)
I won't go in there by myself, not
while he's in this state.
WATSON
You're not going in at all.
Which is a relief to Mrs. Hudson.
MRS. HUDSON
What will I do when you leave?
He'll burn the house down around
me. What will he do? Couldn't
you have a longer engagement?
WATSON
He just needs a new case, that's
all.
Captain Philips emerges from Watson's apartment, heads
towards them.
WATSON
I smell burning.
Mrs. Hudson's already-frayed nerves take a turn for the
worse. Watson takes the newspaper from her.
WATSON
Why don't you take Captain Philips
and give him a nice cup of tea.
MRS. HUDSON
Come on, Captain, let's go down.
It'll be quieter.
WATSON
(as they leave)
And perhaps some tea and bread up
here when you can.
Watson heads down the hallway to the last door. A
tendril of smoke wafts out from under it. Urgent.
(CONTINUED)
12A.
13 CONTINUED: 13
Nonetheless, Watson stops, takes a deep breath, gathers
himself. Something like this has happened before (is, in
fact, Holmes' usual brand of chaos) the difference being,
now, that Watson is sick to death of dealing with it.
Which doesn't mean he won't.
Newspaper in hand, Watson opens the door, pokes his head
in, cautiously. He sees --
14 INT. 221 BAKER ST. - HOLMES' APARTMENTS 14
Watson squeezes through the doorway to find that the
obstruction is Holmes who is sitting in the dark on a
chair, blocking the door, aiming a gun (with an odd
contraption fastened on its barrel) at the wall.
Unadulterated chaos. A series of FLAMING BULLET HOLES
blasted into the wall in the (ragged) initials "V.R."
WATSON
May I join you in the armory?
HOLMES
Please... Watson, I've been
working on a device which will
suppress the sound of a gunshot.
Watson heads towards the conservatory.
HOLMES
Please... Don't, don't, don't...
Watson pulls open the curtains allowing the light to pour
in.
WATSON
It needs work. May I see?...
Watson passes him heading to the other side of the room
(possibly grabs the gun) picking up a pile of open
letters from a table.
HOLMES
Gently, gently, Watson...
Watson whips open more curtains and opens a window.
Holmes crawls on his hands and knees over to a table
where he finds his sunglasses and puts them on.
Watson sits on a chair and begins to leaf though the
letters.
(CONTINUED)
13.
14 CONTINUED: 14
WATSON
It's been three months since the
last case. About time you found
another one.
HOLMES
I can't but agree. My mind rebels
at stagnation. Give me problems,
give me work. The sooner the
better.
WATSON
Paper?
Watson hands Holmes the newspaper.
WATSON
Let's see, we have a letter here
from Mrs. Ramsey in Queen's Park --
her husband has gone missing.
HOLMES
He's in Belgium with the scullery
maid. Is it December?
WATSON
Yes, Holmes. Lady Radford reports
a missing emerald bracelet.
HOLMES
Insurance swindle. Lord Radford
likes fast women and slow ponies.
I see you're the attending
physician at Blackwood's hanging.
WATSON
Yes, it's our last case together
and I wanted to see it through to
the end.
Awkward pause. Cough.
WATSON
Mr. Lewis is seeking...
Mrs. Hudson enters carrying a tray of bread and tea. She
is steeling herself for this interaction.
HOLMES
(to Watson)
There is only one case that
intrigues me at present... the
curious case of Mrs. Hudson, the
absentee landlady.
(MORE)
(CONTINUED)
14.
14 CONTINUED: (2) 14
HOLMES (CONT'D)
I have been studying her comings
and goings and they appear most
sinister.
MRS. HUDSON
Tea, Mr. Holmes.
Mrs. Hudson crosses to Holmes and puts the tray before
him.
HOLMES
Is it poisoned, nanny?
MRS. HUDSON
There's enough of that in you
already.
She goes to remove an old tray from behind him.
HOLMES
Don't touch that. Everything is
in its proper place, as per usual.
She ignores him and removes the tray then crosses back
towards the door noticing a bulldog lying unconscious
under the table.
MRS. HUDSON
He's killed the dog... again.
Watson jumps up. His bulldog, GLADSTONE, lies on the
floor in a drugged stupor.
WATSON
What have you done to Gladstone
this time?
HOLMES
I was simply testing a new
anesthetic. He doesn't mind.
WATSON
Holmes! As your doctor...
HOLMES
He'll be right as a trivet in no
time.
Watson's finally had enough.
(CONTINUED)
15.
14 CONTINUED: (3) 14
WATSON
... and your friend, you've been
in this room for two weeks. I
insist you get out of here.
HOLMES
There's nothing of interest to me
out there, on earth, at all.
WATSON
So, you have nothing to do?
HOLMES
Nothing.
WATSON
Then you're free this evening.
HOLMES
Absolutely.
WATSON
For dinner.
HOLMES
Wonderful.
WATSON
The Royale.
HOLMES
My favorite.
WATSON
Mary's coming.
HOLMES
Not available.
WATSON
You're meeting her, Holmes.
HOLMES
Have you proposed yet?
WATSON
I'm still looking for the right
ring.
A little smile from Holmes.
HOLMES
Then it's not official.
(CONTINUED)
16.
14 CONTINUED: (4) 14
WATSON
It's happening, like it or not.
Half past eight. The Royale.
The dog wakes up and runs out.
WATSON
And wear a jacket.
Watson exits, leaving Holmes alone in his own chaos.
For the first time, we see a hint of fear in his eyes.
CUT TO:
15 INT. THE ROYALE - DINING ROOM 15
Holmes sits in the center of a booth waiting for Watson
to arrive. He is quite uncomfortable in this setting.
WE SEE HIS OBSERVATIONS -- he picks up little pieces of
information from the other guests. He notices the
details on a pair of gentleman's cufflinks, the name on a
bottle of wine, a surreptitious argument between waiters.
It all becomes quite overbearing.
And then Watson and Mary arrive, talking, intent on each
other -- surprised when they realize Holmes is already
there.
WATSON
Holmes! You're early.
HOLMES
Fashionably.
WATSON
May I present Miss Mary Morstan.
Holmes looks at MARY MORSTAN -- looks again. She's
beautiful, 30s, and clearly a woman worth marrying.
Holmes stands. She extends her hand.
HOLMES
My pleasure. For the life of me I
don't know why it's taken him so
long to get us properly
introduced.
Holmes gestures politely, they sit, Mary and Watson on
either side of him. There is a decanted bottle of wine
on the table.
MARY
The pleasure's mine. It really is
a thrill to meet you, Mr. Holmes.
(MORE)
(CONTINUED)
16A.
15 CONTINUED: 15
MARY (CONT'D)
I've a whole stack of detective
novels at home. Poe, Wilkie
Collins...
WATSON
(proudly)
It's true.
(CONTINUED)
17.
15 CONTINUED: (2) 15
MARY
They can seem a bit far-fetched
sometimes, though. Making these
grand assumptions out of tiny
details.
HOLMES
(livening up)
Oh, no no. The little details are
by far the most important. Take
Watson...
MARY
I intend to.
Watson likes that, Holmes less so -- a forced chuckle.
HOLMES
... see that walking-stick? A
rare African snakewood hiding a
blade of high-tensile steel. A
few were awarded to veterans of
the Afghan war, so I can assume
he's a decorated soldier. Strong,
brave, born to be a man of action.
And neat, like all military men.
Then I check his pockets... ah. A
stub from a boxing match. Now I
can infer he's a bit of a gambler.
(a wink)
I'd keep an eye on that, by the
way.
WATSON
Those days are behind me.
HOLMES
Yes, right behind you.
(leaning in to Mary)
He's cost us the rent more than
once.
Mary laughs.
MARY
With all due respect, Mr. Holmes,
you know him. But what about a
perfect stranger? What can you
tell about me?
Holmes and Watson exchange a glance -- not a good idea.
WATSON
I don't think that's necessary --
(CONTINUED)
17A.
15 CONTINUED: (3) 15
HOLMES
Yes, I doubt --
MARY
No, it'd be wonderful. I insist.
HOLMES
You insist?
(at Watson)
She insisted.
(instantly)
You're a governess.
MARY
Well done.
WATSON
Yes, well done. So shall we --
HOLMES
Your student's a boy of 8.
MARY
Charlie's 7, actually.
Watson's getting nervous, reaches for the wine. Holmes
stops him.
HOLMES
It's breathing.
(back to Mary)
Then he's tall for his age.
Mary nods.
(CONTINUED)
18.
15 CONTINUED: (4) 15
HOLMES
He flicked ink at you today.
MARY
Is there ink on my face?
The WAITER appears.
WATSON
There's nothing wrong with your
face.
WAITER
The gentleman has already ordered
for himself.
(to Watson)
What would madam care for this
evening?
Watson gives Holmes a hard look: that's a bit much.
WATSON
Give us a few minutes, please.
He shakes his head, pours wine for all.
HOLMES
There are two drops on your ear...
India blue's nearly impossible to
wash off, anyway. A very
impetuous act by the boy, but
you're too experienced to react
rashly -- which is why the lady
you work for lent you that
necklace. It's from Asprey's,
flawless, not the gems of a
governess.
(beat)
However, the jewels you're not
wearing tell us rather more.
(CONTINUED)
19.
15 CONTINUED: (5) 15
WATSON
Holmes.
Both Watson and Mary scorch Holmes with their eyes.
Holmes pauses... pauses, then:
HOLMES
You were engaged.
Holmes' mind has gotten away from him. He begins talking
faster, intensely focused, manic.
HOLMES
The ring is gone. But the lighter
skin where it sat suggests you
spent some time abroad wearing it
proudly.
As Holmes talks, Watson gets up, moves to help Mary to
her feet. They're leaving.
HOLMES
Or at least until someone informed
you of its true and rather modest
worth, at which point you broke
off the engagement and returned to
England for better prospects. A
doctor perhaps.
Mary throws Watson's wine in Holmes' face. The
restaurant goes silent. She turns to leave, turns back.
MARY
(low)
Right on all counts but one. I
didn't leave my fiance... he died.
Now she leaves --
(CONTINUED)
20.
15 CONTINUED: (6) 15
WATSON
Well done, old man.
-- and Watson goes with her.
Holmes lets the wine drip down over him.
HOLMES
She's lovely.
Holmes is left at an empty table with wine running down
his face.
Their orders arrive -- an array of plates piled high.
The waiter puts them down, Holmes very carefully unfolds
his napkin and places it into the top of his shirt,
spaghetti style, takes his knife and fork and begins to
cut the meat -- then pauses, looks around.
HOLMES' POV
Happy couples eating, laughing, talking. Suddenly,
Holmes hears no words. He just sees their mouths moving.
The sound of silverware clinking and scraping on fine
china rises to an ORCHESTRAL ROAR --
-- which becomes the ROAR of a BLOOD-THIRSTY MOB as a
fist smashes into a face with a MEATY THUD.
15A-17 OMITTEDINT. PUNCH BOWL PUB - BARE-KNUCKLE BOXING FIGHT - 5A-17
1
NIGHT
Holmes staggers back from the blow. He tastes his own
blood from a split lip. It interests him.
He is stripped to the waist, all sinew and gristle. His
opponent, McMURDO -- huge but flabby -- bangs his fists
together and moves in.
Bets rage back and forth through the pressing CROWD.
HOLMES' POV
The room and the fight are calm -- the sounds muffled and
indistinct -- a complete sensory reversal of his
experience in the restaurant. This is soothing to him,
the ring is the only place where his mind stops racing.
(CONTINUED)
21.
15A-17 CONTINUED: 15A-17
He's able to feel, not just think. He is utterly in the
moment.
Holmes' hawk-sharp gaze darts down from McMurdo's face to
his muscles as they flex, giving him just enough warning
to move his head so that a punch grazes him.
BACK TO SCENE
McMurdo throws a storm of punches, most of which Holmes
ducks or blocks. He throws nothing in return, sometimes
even drops his hands, just using his reflexes to protect
himself.
Once or twice, he reaches out and gently touches
McMurdo's face or throat, when the big man leaves an
obvious opening. But that's all. Holmes is completely
in control --
-- until he notices a face at ringside.
CLOSEUP ON A BEAUTIFUL WOMAN
Early thirties, a look of pure intrigue in her eyes and a
slight smile on her lips as she watches the detective.
Holmes' POV returns to normal when he sees her, the sound
floods back into the room.
McMurdo senses his opponent's lapse in concentration and
steps on Holmes' foot, tramping him and --
He knocks Holmes down with a thunderous right.
Holmes rolls over, stands, shakes his head to clear the
cobwebs. He looks for the woman. She's gone. He turns
back to McMurdo, smiles.
HOLMES
Well done. Thank you.
Holmes begins walking away.
McMURDO
Oi! We ain't done here.
HOLMES
(walking away)
Not done. Finished. And as I
said, thank you, it was most
pleasurable.
(CONTINUED)
22.
15A-17 CONTINUED: (2) 15A-17
Face twisted in disgust, McMurdo strides forward and
SPITS CONTEMPTUOUSLY at Holmes, catching him on the back
of the head. The crowd falls silent.
Holmes stops. Feels the back of his head, smells his
hand.
HOLMES
Hm. Plymouth gin.
He turns. Steps back into the ring.
The crowd applauds, working into a fever pitch, but from
Holmes' POV, all is calm. His eyes tick slowly, scanning
McMurdo, locking onto the big man's knee:
A little scar-tissue, nearly invisible. As McMurdo
braces for combat --
Instantly Holmes unleashes a series of superfast moves,
incorporating exotic martial arts. The blinding
combination culminates with a spinning kick to the big
man's knee, which buckles altogether wrong.
McMurdo falls, over and out. Holmes is already turning
away before the giant hits the canvas.
He sees the crowd fall silent, they're not sure if they
like it, there really isn't any sport. He doesn't care.
Passing fellow fighters and flirty barmaids, Holmes
strides out of the bar, battered on the outside, soothed
inside. He grabs a bottle in his hand. Taking a huge
swig, he climbs the stairs towards the upstairs rooms.
18A 18A
INT. PENTONVILLE PRISON - CORRIDOR - NIGHT
A candle shivers, casting jagged shadows. A row of stone
cells. The sound of prisoners SCREAMING in the dark. A
full-scale riot is on.
Five GUARDS charge down the corridor, banging on the
doors to quiet the prisoners.
The GUARD CAPTAIN approaches a young guard, CHARLIE, who
is frozen on the spot.
GUARD CAPTAIN
Charlie, what the hell's going on
down here?
(CONTINUED)
23.
18A CONTINUED: 18A
CHARLIE
It's Jack, he tried to stop
Blackwood from doing his spells.
And now he's in some kind of fit.
The Guard Captain continues around the corner. We see
another guard, JACK, lies convulsing on the floor.
GUARD CAPTAIN
(to the prisoners in
the cell next to
Blackwood)
You lot shut it!
(to the guards)
Charlie, get, down here and get
him to the infirmary.
The guards pick Charlie up and carry him away.
19 19
INT. PENTONVILLE PRISON - BLACKWOOD'S CELL - NIGHT
Blackwood sits dead center in the dark. Eyes closed,
WHISPERING ungodly sounds.
On the walls the scrawls of a madman: wild symbols,
sketches of animals, a headless sphinx, an upside-down
cross. A hint of some method to his madness.
GUARD CAPTAIN
All right, Blackwood, what's this
all about?
BLACKWOOD
I've a request.
GUARD CAPTAIN
You don't get nothin' `til you
stop this devil nonsense. That's
a holy book --
Blackwood closes his eyes again, resumes his soft murmur.
GUARD CAPTAIN
(louder)
-- and you will respect it!
Blackwood starts whispering FASTER. LOUDER.
GUARD CAPTAIN
Boy, you want me to muzzle you --
Suddenly, the Captain starts COUGHING. He's confused.
He coughs harder. Prisoners watch him stumble backwards.
(CONTINUED)
23A.
19 CONTINUED: 19
Blackwood keeps whispering. The Captain falls to one
knee, keeps coughing.
Finally the Captain COUGHS SOMETHING UP, spits it out
onto the stone floor. He looks down, horrified:
It's a small CATHOLIC CROSS on a chain.
Prisoners start SHOUTING. The RAVEN at Blackwood's
windowsill flutters away. Other guards run up,
terrified.
(CONTINUED)
24.
19 CONTINUED: (2) 19
GUARD #2
Get him to the infirmary, now!
Guards pull the Captain away. The remaining guard picks
up the cross, stares at Blackwood, chilled. Blackwood's
eyes snap open.
BLACKWOOD
I've a request.
20 OMITTED 20
21 INT. PUNCH BOWL PUB - BARE-KNUCKLE BOXING RING - NIGHT 21
The fighting is over and the pub is closing. Only a few
people remain cleaning up, mopping the beer and blood.
Watson enters fast, looks around, and moves upstairs.
22 22
INT. PUNCH BOWL PUB - ATTIC
Watson walks down a dingy hallway towards a door. With a
look of resignation, he opens the door to see Holmes
sitting alone in the sterile, barely furnished room.
Holmes faces the corner, playing scales on his VIOLIN.
On the table next to him, an upside down BEER STEIN and
an assortment of prescription medicine bottles.
Watson approaches, sees Holmes has bloodshot eyes from
lack of sleep.
Watson picks one of the medicine bottles which is open.
WATSON
You know this is for eye surgery?
HOLMES
I find that it lifts my spirits.
WATSON
It's a pathological amorbic
process, it increases tissue
change and weakness. And you know
what a black reaction comes on you
afterwards.
No answer. More scales. Watson approaches, sees Holmes
has bloodshot eyes from lack of sleep. The beer stein is
full of FLIES all buzzing about.
(CONTINUED)
24A.
22 CONTINUED: 22
HOLMES
Look at this. If you play a
chromatic scale, they move
clockwise. As soon as you switch
to a pentatonic scale --
Holmes plays a different scale, the flies all stop
moving, stick to the glass.
WATSON
(faking interest)
Really? What about when you --
oops --
Watson picks up the glass, lets loose the flies. Holmes
looks up; Watson's already moving for the door, pissed.
(CONTINUED)
25.
22 CONTINUED: (2) 22
WATSON
Let's go. Lestrade wants you at
Pentonville Prison.
HOLMES
That's your job, not mine.
WATSON
You're Blackwood's last request.
Says he has information he'll give
only to you.
But Watson's already out the door.
23 EXT. LONDON - DAWN 23
Watson and Holmes ride in a cab, passing familiar
landmarks as the city comes to life. They sit in
silence, tension hanging between them. Finally Holmes
grabs Watson's bag, rummages around and pulls out a clean
white shirt.
Watson looks out the window, frustrated. He sees THE
HALF-CONSTRUCTED MASS OF TOWER BRIDGE. Near ground
level, workers take down a large BLACKWOOD STEEL sign.
HOLMES
Look at that structure. What has
it been? Five years' work
already? Are you aware that is
the first combination of bascule
and suspension bridge. Very
innovative.
No reply.
As Holmes is taking off his jacket, he reaches into his
pocket and pulls out a wad of money.
(CONTINUED)
26.
23 CONTINUED: 23
HOLMES
Oh, I have your cut from last
night, by the way. You weren't
there so I laid your customary
bet --
Silence. Holmes takes off his shirt.
HOLMES
You're right... I'll keep it with
your check book, locked safely
away in my drawer.
Silence. Holmes pulls on the clean shirt.
HOLMES
The opera house is featuring Don
Giovanni and I could easily
procure two tickets if you had
some cultural inclination this
evening.
Silence.
HOLMES
You have the grand gift of
silence, Watson. It makes you
quite invaluable as a companion.
Watson punches him square in the face.
WATSON
And your grand gift is the uncanny
ability to demoralize people. I
was aware she'd been engaged. She
told me.
Holmes rubs his jaw.
HOLMES
So that's a `no' to the opera
then?
Watson's steaming. Holmes puts on his vest.
WATSON
That's my waistcoat.
HOLMES
It's too small for you.
WATSON
Well, it's my property and I want
it back.
(CONTINUED)
26aA.
23 CONTINUED: (2) 23
Holmes hands him the waistcoat which he promptly tosses
out of the carriage window. Holmes frowns, looks out the
opposite window.
26A.
24 EXT. PENTONVILLE PRISON - EARLY MORNING 24
Already a CROWD is gathering outside the jail, papers are
for sale, Blackwood's death is the headline. Religious
zealots and occultists swarm. Police keep them away from
the entrance. Holmes heads inside, Watson stops.
WATSON
You go ahead. I've no business
with him while he's alive.
25 OMITTED 25
27.
26 INT. PENTONVILLE PRISON - CORRIDOR - DAWN 26
A pale, nervous GUARD leads Holmes down the shadowy
corridor. All the cells are now EMPTY.
HOLMES
Where are all the other prisoners?
GUARD
We had to move `em, sir, otherwise
we were going to have a riot on
our hands. There's something
about him... it's like he can get
inside your head.
Holmes can see how spooked the Guard is.
HOLMES
I'm sure I can find my own way
from here, if you have other
duties to attend to.
GUARD
Much obliged, sir. Thank you,
thank you.
The Guard high-tails it out of there.
27 27
INT. PENTONVILLE PRISON - BLACKWOOD'S CELL - DAY
Holmes approaches Blackwood's cell, strolling
insouciantly. No way this creep's getting to him. In
the shadows he can barely make out Blackwood, who's
reading aloud to himself. Holmes listens, getting
closer.
BLACKWOOD
QUOTE from Revelations tbd...
Blackwood pauses, turns, sees Holmes.
They share a smile -- two heavyweights sizing each other
up.
HOLMES
Love what you've done with the
place.
BLACKWOOD
Thank you for joining me.
(CONTINUED)
28.
27 CONTINUED: 27
HOLMES
A small point of concern.
BLACKWOOD
How can I help?
HOLMES
I'd already followed the murders
with some interest and while my
heart went out to the families of
the victims, I couldn't but notice
a criminal mastery in the stroke
of your brush --
BLACKWOOD
You're too kind.
HOLMES
However, by comparison, your work
in the crypt was akin to a finger
painting.
Suddenly, Blackwood is right at the bars, close to
Holmes.
BLACKWOOD
So now you're curious as to
whether there's a larger game
afoot, and that's why you're
really here.
HOLMES
Actually, my friend will pronounce
you dead shortly and I thought I
might keep him company.
BLACKWOOD
Allow me to enlighten you. Your
mistake is to imagine that
anything earthly has led to this
moment. Your error in judgement
is to assume I've been holding the
brush at all -- I am merely the
channel.
Despite the bars between them, the men are close
together. Holmes seems to be studying Blackwood's ear.
(CONTINUED)
29.
27 CONTINUED: (2) 27
HOLMES
My only wish is that I'd caught
you earlier. I might have spared
five lives.
BLACKWOOD
Those lives were a necessity, a
sacrifice. Five otherwise
meaningless creatures called to
serve a greater purpose.
HOLMES
I wonder if they'd let Watson and
I dissect your brain -- after
you're hanged, of course. I'd
wager there's some deformity that
would be scientifically
significant. Then you would serve
a greater purpose, too.
BLACKWOOD
Mr. Holmes, you must widen your
gaze. I'm concerned you
underestimate the gravity of
coming events.
(beat)
For you and I are bound on a
journey that will twist the very
fabric of nature.
(beat)
I sense fragility beneath your
mask of logic, and it worries me.
Steel your mind, Holmes, I need
you.
Holmes steps back, shakes his head.
HOLMES
I must say, you've come a long way
down from the House of Lords.
BLACKWOOD
But I will rise again.
HOLMES
Bon voyage, Blackwood.
As Holmes walks away, Blackwood calls after him.
BLACKWOOD
Pay attention! Three more shall
die, and there is nothing you can
do to save them.
(MORE)
(CONTINUED)
29A.
27 CONTINUED: (3) 27
BLACKWOOD (CONT'D)
You must accept that this is
beyond your control, or by the
time you realize it was you that
made it all possible it will be
the last sane thought in your
head.
28 INT. PENTONVILLE PRISON - CORRIDOR - MORNING 28
Holmes walks down the corridor, meets Lestrade and a
PRIEST. The place is bustling with cops and officials.
LESTRADE
What did he want?
HOLMES
Nothing.
Holmes looks at the priest.
HOLMES
Don't think you're needed, Father.
Not for this one.
29 29
INT. PENTONVILLE PRISON - GALLOWS
The room where the execution takes place is packed to the
rafters with senior officials, members of the government
and cops. We get a good look at some of the faces.
Watson is there too. Blackwood walks up into the noose.
CUT TO:
A SHOT OF GATHERED WITNESSES AND OFFICIALS
CUT TO:
A SHOT OF THE EXECUTIONER
CUT TO:
(CONTINUED)
30.
29 CONTINUED: 29
A SHOT OF BLACKWOOD
smiling malignly. His final words:
BLACKWOOD
Death is only the beginning.
CUT TO:
A SHOT OF THE HOOD
going over Blackwood's head.
CUT TO:
A SHOT OF THE NOOSE
slipping around Blackwood's neck.
CUT TO:
A SHOT OF THE PERSPIRING PRIEST
clutching his Bible.
CUT TO:
A SHOT OF THE TRAP DOOR
opening. Legs fall through and yank tight.
CUT TO:
A SHOT OF WATSON
checking Blackwood's pulse. He pronounces Blackwood
dead. The show is over.
30 30
INT. 221 BAKER STREET - DAY
Holmes is out cold, lying on his tiger skin rug.
CRACK! His eyes fly open. CRACK!!
IRENE (O.S.)
London's so bleak this time of
year.
(CONTINUED)
31.
30 CONTINUED: 30
REVEAL: Irene Adler sits on the stairs near Holmes' lab,
cracking walnuts. She stands and Holmes watches her
every move as she crosses to him. She leans down,
putting the walnuts in front of him and flashes him a
smile.
IRENE
Not that I'm pining for New
Jersey.
Irene gets up to cross the room. Only once her back is
turned does Holmes lever himself upright, stunned by this
intrusion. As soon as she clears he quickly moves over
to a concealed safe. He tests the door to make sure it's
still locked.
IRENE
I prefer to travel in the winter.
As she passes a small table that has been outfitted with
tea, dried fruit, olives, etc...
IRENE
I brought a few souvenirs. Dates
from Jordan, tea from Ceylon and
olives from Cyclades. I thought
we'd have a little tea party to
cheer us up.
Irene grabs a file from Holmes' desk.
IRENE
I came across this as I was
setting up.
Irene opens the file, flips through newspaper clippings
and police reports, her back to Holmes.
IRENE
Theft of Velasquez portrait from
the King of Spain... Missing naval
documents lead to resignation of
Bulgarian Prime Minister...
Scandalous affair ends engagement
of Hapsburg Prince to Romanov
Princess.
Holmes stealthily turns down a photo of Irene, just
before she turns back to face him.
(CONTINUED)
32.
30 CONTINUED: (2) 30
HOLMES
Simply studying your methodology
for when the authorities ask me to
hunt you down.
IRENE
I don't see my name anywhere.
HOLMES
But your signature is clear.
Holmes reaches for Irene and pulls on a chain around her
neck, revealing and enormous diamond.
HOLMES
Ah, the Maharajah's missing
diamond. Another souvenir?
IRENE
He has a palace full of them.
Let's not dwell on the past.
They move to sit at the table.
IRENE
By the looks of things you're
between cases at the moment.
HOLMES
And you, husbands. No ring?
IRENE
He snored. I'm Irene Adler again
and I need your help to find
someone. There's nobody more
brilliant or who knows London
better than you. Plus, it's a
wonderful opportunity to see you
again.
TRACK INTO Irene's hypnotically beautiful eyes. Holmes
almost melts. Then, Irene reaches for something inside
her jacket and Holmes grabs her hand.
IRENE
Why are you so suspicious?
HOLMES
Should I answer chronologically or
alphabetically?
Irene pulls out an ENVELOPE.
(CONTINUED)
33.
30 CONTINUED: (3) 30
IRENE
This is all the information you
need.
She hands him the envelope.
HOLMES
Who are you working for?
Just for a brief moment, she can't hide the anxiety in
her eyes.
IRENE
I'm my own man.
(CONTINUED)
33A.
30 CONTINUED: (4) 30
She stands and pulls out a large bag of coins.
HOLMES
Keep your money. I didn't say I'd
take the case.
She ignores him. Holmes examines the envelope. On it is
stamped the letterhead of the Grand Hotel. She pauses
behind him as she exits.
IRENE
They gave me our old room.
As she walks out she puts her photo back upright.
31 INT. 221 BAKER ST. - STAIRS 31
Irene descends the stairs just as Watson is coming in.
He lifts his hat, waits for her to pass --
IRENE
Hello, John.
-- does a speechless double-take when he sees who it is.
Irene keeps moving.
34.
32 EXT. LONDON STREET 32
We PICK UP Irene crossing a street. She passes a DARK
ALLEYWAY. Pauses. Looks. She turns into the alley.
HOLD ON the alley for a long beat. Too dark to see much
in there.
CUT TO:
IRENE
emerges from the alley holding a lovely bunch of roses.
She sniffs them appreciatively, walks on.
CUT TO:
IRENE
approaches a waiting carriage, looks around her, gets in.
CUT TO:
33 33
INT. CARRIAGE
Irene sits, turns to address a man-shaped shadow filling
the opposite corner of the carriage. Before she can
speak, a gesture from the shadow stills her. This is
PROFESSOR MORIARTY.
Irene is made to wait as Moriarty finishes writing a
complex mathematical equation (in astronomy), folds the
paper to reveal that it is addressed to THE ROYAL
ASTRONOMICAL SOCIETY, cracks open the carriage window and
slides the folded paper partway out.
Someone waiting outside takes the paper, and their
footsteps clatter away.
Moriarty closes the window, and the carriage starts
moving. A full beat goes by before he turns to Irene,
finally prepared to engage with her.
MORIARTY
I assume he'll do it?
IRENE
Not for money, but for me. I
wager he'll find our man within
twenty-four hours.
MORIARTY
You wager?
(CONTINUED)
34aA.
33 CONTINUED: 33
IRENE
I'm certain.
MORIARTY
A better word. I sincerely hope
it's accurate.
IRENE
I --
Suddenly, the coach comes to a halt, they lurch forward.
34 EXT. LONDON STREET 34
A rough-looking BEGGAR wearing an eye patch has fallen
under a wheel of the coach.
BEGGAR
Ow, me leg!
(CONTINUED)
34A.
34 CONTINUED: 34
COACH DRIVER
Get out of it!
BEGGAR
You run me over, sir, yes you did!
COACH DRIVER
You fell right into the carriage!
The Beggar is up, limping toward the window where
Moriarty and Irene sit. He has disgusting blackened
teeth.
BEGGAR
A little charity would go a long
way, yes it would, sir.
(CONTINUED)
35.
34 CONTINUED: (2) 34
He reaches toward the window. Within a nanosecond,
Moriarty extends his hand into which a PISTOL appears,
delivered by a concealed mechanism (Travis Bickle style).
The gun rests on the Beggar's forehead. The cold eyes of
the man that holds the weapon bore into the skull of the
Beggar, who backs off in fear. The carriage moves on.
35 INT. 221 BAKER ST. - HOLMES' APARTMENT 35
Holmes is washing his face in a basin on the other side
of the room, completely transformed now, utterly alive.
Watson approaches, very concerned, almost enraged.
WATSON
Look at you, I can't believe you
ran after her like a schoolboy
again. Leaping about, all
aflutter. Are you a masochist?
HOLMES
Allow me to explain.
WATSON
Don't you remember what she did to
you? She turned you inside out,
she made a proper idiot of you.
I'm sorry, you were going to
explain something...
HOLMES
Thank you, I --
WATSON
I know, instead of just being
tricked into being a witness at
her wedding like last time --
HOLMES
I don't believe --
WATSON
You dress up as clergyman and
actually perform the ceremony.
She'd love that.
HOLMES
You've had your fun.
This is a hopeless cause -- Watson won't stop.
WATSON
What's she after, anyway?
(CONTINUED)
36.
35 CONTINUED: 35
HOLMES
Now it's time to press on.
HOLMES
Now it's time to press on.
Holmes looks like he's had enough.
WATSON
Go on. I won't interrupt.
HOLMES
It doesn't matter --
WATSON
What could she possibly need? An
alibi, a beard, a human canoe.
She can sit on your back and
paddle you up the Thames...
Holmes grabs the envelope back.
HOLMES
Regrettably, we've had our last
case together. Those are my
dates.
WATSON
I've already read it. Luke
Reordon, four foot ten, red hair,
missing two front teeth.
Holmes picks up his violin.
WATSON
Case solved! You're just not her
type, Holmes. She likes ginger
dwarfs.
HOLMES
Midget!
WATSON
So you agree?
HOLMES
No, I don't agree. It's more than
a technicality. You're
misrepresenting the dimensions of
foreshortened people.
WATSON
I've upset you, I can tell. I've
said too much.
(CONTINUED)
36A.
35 CONTINUED: (2) 35
HOLMES
No, I'm just saying, one has
disproportionate limbs the other
does not.
WATSON
Alright. What were you just
doing?
HOLMES
Will you allow me to explain.
WATSON
That's what I've been trying to
do.
Holmes plucks his violin, the notes play over a FLASHBACK
of the previous scene, all from HOLMES' POINT OF VIEW.
36 FLASHBACK - INT. 221 BAKER ST. - HOLMES' APARTMENT 36
We see Irene step out.
IRENE
Why don't I see myself out.
Once Irene leaves, he steps quickly to a window, and
looks out to see her walking down Baker Street, turning
down an alley. He bolts into --
36A INT. 221 BAKER ST. - CORRIDOR 36A
He sees Watson coming up the stairs. Before Watson can
speak, Holmes snatches his coat and runs down the other
end of the corridor. He JUMPS out the window to --
37 EXT. 221 BAKER ST. - REAR YARD 37
Holmes flies from the window and lands neatly on a tin
roof. The jump to the next level is a more taxing
prospect. Holmes weighs the distance and hurls himself
down with a determined look. He lands just right.
37A-37D OMITTED 37A-37D
37.
38 EXT. COAL SHED 38
Holmes jumps off the shed, heads for the street one block
over from Baker Street.
38A EXT. LONDON STREET 38A
He runs down the mews in great haste, stops at the same
alley that Irene disappeared into -- but at the other
side.
CUT TO:
HOLMES' POV DOWN ALLEY
from concealment: Irene walks towards a MAN HOLDING A
BUNCH OF ROSES.
MAN WITH ROSES
Got some roses for you,
sweetheart. Cut you a deal `cos
you're so pretty.
IRENE
Oh, how nice of you.
Even without the man -- who is scrofulous and sly -- no
woman in her right mind would go down this alley.
38B 38B
INT. ALLEY
The man with the roses beckons Irene forward. Another
man steps in behind her, trapping her. He closes in to
grab her --
-- and WHAP!WHAP!WHAP! Gets three cosh-strikes across
the chin, dropping him immediately.
Still holding the roses, the man finds himself smacked up
against the bricks with Irene's hand over his mouth.
Quick as a snake, she slices upwards with a razor-sharp
knife, cutting his belt, then his clothes, all the way to
his collar. The move ends with Irene's finger over her
own mouth, signalling the mugger to be quiet. He obeys,
eyes bulging.
Irene frisks him expertly. She's mugging the mugger.
There is excitement in her eyes; this turns her on.
(CONTINUED)
37A.
38B CONTINUED: 38B
IRENE
Oh, look, a wallet. Doesn't look
like yours, does it? And --
naughty boy -- here's another
one. I'll return them, shall I?
She takes both wallets, takes the roses --
IRENE
These are lovely, thank you.
-- and leaves, stepping daintily over the crumpled man on
the floor.
On second thoughts, she turns back, takes his wallet too,
then leaves.
CUT TO:
ANGLE ON HOLMES
HOLMES
Now, that's the Irene I know.
He hurries after Irene down the alley.
38C 38C
EXT. LONDON STREET
Holmes exits the alley, catches a glimpse of Irene
through a STREET FAIR, which is being assembled.
Holmes picks up the pace.
He snatches a HAT from a one-eyed old BEGGAR with his
hand out. He drops a coin in his hand, then another coin
and snatches the beggar's eye patch too.
He runs past a coal cart, snags a lump of coal, rubs it
on his face and hands, then pops it in his mouth, chews
it to blacken his teeth.
He pauses to singe the sleeve of Watson's coat on a
fairground fire-breather's flames, runs on.
39 EXT. LONDON STREET 39
Holmes emerges as the beggar we saw previously. Again he
stops the coach and again the gun comes out, but this
time we can see that Holmes gets a view of the man on the
other end of the weapon before the carriage pulls away.
37B.
40 INT. 221 BAKER ST. - HOLMES' APARTMENTS (PRESENT) 40
Holmes strums one more chord on his violin, thinking.
Irene's bag of money still sits on the table.
HOLMES
This man intrigues me, Watson.
He's got Adler on edge.
WATSON
Which is no mean feat.
HOLMES
She's intimidated, scared...
WATSON
And yet she works for him. That's
bad money. It's nothing to do
with me, but leave this case.
Holmes motions to the bills.
HOLMES
Well, I may not have a choice. A
man has to make a living. After
all, I'll be paying the rent
entirely on my own.
WATSON
You know what, I've had just about
enough --
HOLMES
Clarky!
VOICE (O.S.)
Mister Holmes, sir...?
He turns to see... CONSTABLE CLARK standing at the door.
Breathless, pale, scared.
CONSTABLE CLARK
Inspector Lestrade asks that you
come with me, at once.
(CONTINUED)
38.
40 CONTINUED: 40
HOLMES
(mumbles)
What's he done now, lost his way
to Scotland Yard? Watson, grab a
compass. You means us.
WATSON
Us means you.
CONSTABLE CLARK
It's Lord Blackwood, sir. It
appears he's come back from the
dead.
WATSON
Well that's clever seeing as how I
pronounced him dead myself.
CONSTABLE CLARK
A groundsman saw him walking
through the graves, just this
morning.
WATSON
I'll leave this one in your
capable hands. I have tea with
Mary and her parents this evening.
Watson walks into his office.
HOLMES
It is not my reputation at stake
here.
WATSON
Are you taking this seriously?
HOLMES
Like it or not, it's a matter of
professional integrity. No girl
wants to marry a doctor who can't
tell if a man's dead or not.
They all move to the exit.
HOLMES
Watson, you'd do well to hide your
medical certificates in case
they're revoked.
Clarky laughs.
38aA.
41 EXT. THE BLACKWOOD ESTATE - ESTABLISHING - DAY 41
Judging by the estate, Blackwood comes from old money,
and lots of it. We FOLLOW the carriage hurrying Holmes
and Watson forward.
42 EXT. THE BLACKWOOD BURIAL PLOT - DAY 42
Generations of wealth buried in moss-covered marble
memorials. Not a place for a picnic, not even on a
bright sunny day -- and it's starting to rain.
A COP stops the carriage, opens the door. Holmes and
Watson exit, Watson carries a black leather FORENSICS
KIT.
They walk up the pathway towards the Blackwood Family
Crypt. Watson barely lifts his head, scanning the ground
while Holmes appears to have taken an interest in a clump
of trees in the distance.
WATSON
Look at this mess. Nothing but
standard-issue police bootprints.
Any possible evidence there might
have been has been trampled.
(CONTINUED)
38A.
42 CONTINUED: 42
HOLMES
Scotland Yard at their finest,
once again.
Police lamps light one large marble CRYPT. The cops are
in tight clusters, whispering to themselves, spooked.
They'd rather be anywhere but here.
As Holmes and Watson approach, they see the marble doors
of the crypt have been BLASTED OPEN FROM THE INSIDE.
Holmes and Watson share a quick glance -- this is
interesting.
Lestrade emerges from the crypt. He is sweating, shaken.
(CONTINUED)
39.
42 CONTINUED: (2) 42
Holmes offers Lestrade his handkerchief, Lestrade waves
it off.
LESTRADE
Look at those slabs of marble --
they're half a ton each if they're
a pound -- smashed outward like
they were nothing.
On second thought, Lestrade does take Holmes'
handkerchief.
LESTRADE
Explain it if you can, Holmes.
Holmes inspects the door, checking the hinges. He
notices the Blackwood CREST, and the image of a SPHINX.
HOLMES
And the coffin?
LESTRADE
We're digging it up now. The
witness is over there. You can
question him if you like -- but
you won't get much.
The old GROUNDSKEEPER, pale and terrified, stands out of
the rain under an ancient cypress tree.
Watson heads for him. Holmes disappears in the opposite
direction.
As soon as their backs are turned, Lestrade marches over
to a nervous knot of cops, grabs a fistful of blue in
each hand, drags his boys in close. He doesn't want
Holmes or Watson to hear this.
LESTRADE
(low, angry)
If you lot don't stop behaving
like a bunch of superstitious milk
maids, you're on double-time!
You're an embarrassment! Also,
you're forbidden to talk about
this to anyone, not a word. Are
we bloody clear on that?
The cops nod, duly chastened.
CUT TO:
(CONTINUED)
40.
42 CONTINUED: (3) 42
THE GROUNDSKEEPER
mumbles the Lord's Prayer under his breath. Watson
immediately goes into doctor mode checking his pulse,
looking in his eyes.
The Groundskeeper just keeps praying. Watson takes a
boiled sweet from his pocket, pops it in the man's mouth
and gently sits him down.
Holmes walks over holding a small branch from a tree.
WATSON
He's in shock. We should give him
a few moments.
Lestrade stomps up.
LESTRADE
The witness stated that he saw
Lord Blackwood rise from the
grave.
(at Watson,
accusingly)
Well? You pronounced the man
dead.
WATSON
(stung)
He had no pulse.
HOLMES
Inspector, do you know if this is
a spruce or a sycamore?
Lestrade shakes his head. It hasn't been a good day for
him, or the Yard.
There's a clunk. They all turn to see the coffin has
been extracted from the crypt.
Four beefy, soil-stained cops emerge lugging the coffin.
They place it on the ground, step back, crossing
themselves, murmuring, plainly terrified. Holmes
chuckles.
LESTRADE
OPEN IT!!
(CONTINUED)
41.
42 CONTINUED: (4) 42
But no one moves. The cops pass a CROWBAR around as if
it were red-hot. Watson's had enough. He marches
forward --
-- snatches the crowbar away, jams it under the lid and
levers it off with a slow, eerie groan.
Holmes and Lestrade move forward, the cops move backward.
The coffin is filled with EARTH, overflowing. They brush
away a layer of dirt, to reveal... A DEAD BODY in the
coffin. The body is a much smaller man than Blackwood,
in everyday clothes, with red hair.
LESTRADE
That's not Blackwood.
HOLMES
Now that we have a firm grasp of
the obvious...
Watson opens his forensic kit, disturbed. Vials, silver
tools. He takes a CALIPER, begins examining the body.
WATSON
Lividity is late stage. Diptera
deposits are approximately --
(measuring)
-- three quarters of an inch,
putting the time of death at ten
to twelve hours ago.
HOLMES
Inspector, may I see your pen?
Lestrade hands over a nice fountain pen, still stunned.
Holmes takes the pen and pries open the corpse's mouth,
revealing: two missing teeth in the man's jaw.
WATSON
Missing two incisors in the upper
jaw...
(a look at Holmes)
Adler's midget.
Holmes spots something glinting in the man's dirt-filled
pocket. He uses the pen to fish out: a POCKET WATCH.
HOLMES
All yours, Inspector.
Holmes hands the pen back to Lestrade. Lestrade looks at
it with dismay, takes it in Holmes' handkerchief -- a
small measure of revenge.
(CONTINUED)
42.
42 CONTINUED: (5) 42
Holmes and Watson begin walking away from the crypt.
Lestrade follows, anxious. Holmes shows him the dusty
pocket watch.
HOLMES
Scratches around the keyhole where
the watch is wound. Most drunks
are the same, and pawnbrokers
scratch the ticket number and
their initials inside the lid.
This one has five, so the owner --
GROUNDSKEEPER (O.S.)
He was walking.
They all stop, suddenly. The old Groundskeeper stands in
front of them, ready to unburden himself.
GROUNDSKEEPER
(quivering voice)
He was walking but his feet didn't
touch the ground. And I'm not
daft, I know what I saw and I know
Lord Blackwood. He was as alive
as you or me. It's not right.
It's not natural.
(turns, leaves)
Our Father Who art in heaven...
(etc.)
All three men watch the Groundskeeper go. A sudden gust
of wind moans eerily. They all want to get the hell out
of there.
HOLMES
Now the game is afoot, Watson.
42A-50 OMITTE 42A-50
51 EXT. LONDON STREET - DAY 51
Holmes stands in the middle of the street contentedly
observing humanity. Watson ENTERS FRAME and hands Holmes
a bundle wrapped in newspaper.
WATSON
I fail to see how these fish and
chips are different from the three
other places we passed along the
way.
HOLMES
Trust me.
(CONTINUED)
42A.
51 CONTINUED: 51
WATSON
Just eat.
Holmes complies hungrily and they start to stroll along.
Watson appears preoccupied.
WATSON
You know, I've seen things in war
that I couldn't explain. I once
heard a man predict his death,
down to the number and placement
of the bullet holes that killed
him. You have to admit that a
supernatural explanation is at
least theoretically possible.
(CONTINUED)
43.
51 CONTINUED: (2) 51
HOLMES
(mouth full, near
indecipherable)
Never theorize before you have
data. Invariably, you end up
twisting facts to suit theories,
instead of theories to suit facts.
Adler's midget is the key to this.
Holmes pulls out a JEWELER'S LOUP, screws it into his
eye, and flips Reordon's watch open. He examines the
lid.
HOLMES
Hmm... scratches around the
keyhole, what does that tell you?
WATSON
The owner was most likely a drunk.
Each time he wound the watch his
hand would slip, hence the
scratches.
HOLMES
Very good, Watson! You've
developed considerable powers of
your own.
Watson looks quite chuffed.
HOLMES
Let's see now, there are several
sets of initials scored into the
lid.
WATSON
Pawnbroker's marks.
HOLMES
Excellent.
Watson looks extremely pleased with himself until they
turn a corner into a street where EVERY SECOND SHOP IS A
PAWN SHOP. His face falls.
HOLMES
The most recent is M.H...
Watson shakes his head.
WATSON
Maddison and Haig.
(CONTINUED)
43A.
51 CONTINUED: (3) 51
HOLMES
Oh my Lord, here we are. They
should give us an address.
WE SEE MADDISON & HAIG, PAWNBROKERS, RESPECTABLE,
DISCREET, ahead of them there on Bow Street.
WATSON
There's one thing you've missed.
On the watch.
HOLMES
I think not.
WATSON
The time. Which leads me to
deduce that I'm already late for
my appointment with Mary. You
remember, the one I was leaving
for before you talked me into
coming to dig up dead bodies with
you.
A GYPSY PALM READER approaches Watson as he turns to
leave.
PALM READER
Reckon your future, sir?
HOLMES
Perhaps we do need a little help
from the beyond.
WATSON
No, thank you.
She grabs his hand anyway.
PALM READER
You need to hear what I have to
tell you.
Watson is so taken aback by the urgency and gravity of
her tone that he doesn't pull away.
PALM READER
I see two men, brothers. Not in
blood but in bond. I see the
letters S and an L, no... wait, a
J.
Holmes and Watson look at each other. She has their
attention.
(CONTINUED)
43B.
51 CONTINUED: (4) 51
PALM READER
(wincing)
I see madness. A man driven out
of his mind by a malign force.
Watson looks at Holmes.
PALM READER
I see a letter... the letter M...
another M... Mary? You will be
married... I see... I see...
(horrified)
Patterned table clothes, china
figurines, lace doilies...
Watson snatches his hand away.
WATSON
You think you are clever don't
you?
Holmes feigns innocence.
PALM READER
She turns to fat...
WATSON
Enough.
The Palm Reader looks at Holmes.
HOLMES
(to Watson)
Do you have any changes?
Watson shakes his head as he pays the woman.
WATSON
This is a new low -- even for you.
(CONTINUED)
44.
51 CONTINUED: (5) 51
HOLMES
It's the most honest prediction
old Flora has made in years. And
you know it yourself, Watson.
That is precisely the reason you
can't find a suitable ring.
You're terrified of a life without
the thrill of the macabre, as well
you should be.
Holmes swallows the last of his cod and casts the
wrapping aside, pleased with himself.
WATSON
Do you still have my cut from the
fight?
Holmes digs into a pocket, produces a wad of coins.
HOLMES
Why, do you --
Watson snatches the money, storms into Madison and Haig.
Holmes is confused until he spots a sign in the window:
"Large selection of engagement rings for every wallet."
Holmes starts to look a bit nervous. As he follows
Watson, he is intercepted by the Palm Reader who grabs
his arm.
PALM READER
I seen something in his hand.
Darkness and great pain. Mortal
peril. Warn your friend, he's not
safe.
Even Holmes is taken aback by this.
52 52
EXT. LONDON EAST END - MINUTES LATER
Holmes and Watson move down the street, the pawnshop
behind them. Now Watson is smiling, and Holmes is not.
Watson is beaming at: an ENGAGEMENT RING in a box.
WATSON
Not bad, eh?
Holmes turns away, looks down at the TICKET he got from
the pawnshop: an ADDRESS.
HOLMES
Reordon's lodgings should be right
around this bend. Here we are...
(CONTINUED)
44A.
52 CONTINUED: 52
He slows, looks up at a dark, dingy LODGING HOUSE. Some
windows are boarded up.
HOLMES
Looks promising. And possibly
dangerous. Oh, well, give my
regards to Mary.
(CONTINUED)
45.
52 CONTINUED: (2) 52
Holmes heads for lodging house. Watson checks his watch.
53 OMITTED 53
54 INT. LODGING HOUSE 54
Holmes winds his way up a twisting flight of creaky
stairs, finds a door with scratches on the keyhole.
Holmes takes out his knife and goes to work on the lock.
It is fiddly. It takes him a while. He kneels to get a
better angle with the knife.
CRACK! Watson's boot flashes past him as he KICKS the
door off its hinges. Off Holmes' pleased reaction, he
gestures them inside.
WATSON
I can spare ten minutes.
55 55
INT. REORDON'S ROOMS - DAY
The squalid doorway opens into a series of dark rooms.
Watson lights a lamp which reveals details of an interior
that stops them both in their tracks:
From floor to ceiling, every available inch is covered in
writing, biblical Latin and Hebrew. Scrawled-on paper
and pages are tacked to walls and carved into the
plaster, crucifixes punctuate the yards of text and
collage, strange pagan charms hang from the ceiling.
HOLMES
He clearly felt something was
coming to get him.
WATSON
Something did.
They move further inside where there is a hallway and a
basic bedroom. Holmes inspects it, moves through a door.
(CONTINUED)
46.
55 CONTINUED: 55
HOLMES (O.S.)
Watson, come take a look at this --
Watson puts down what he was looking at, goes towards...
56 INT. REORDON'S LAB 56
Instantly, Watson covers his nose with a handkerchief.
WATSON
(reeling)
Bloody hell...
The room is stacked with an alarming amount of scientific
and biological paraphernalia. Some of it gives off a
distinctly electrical hum. Ungodly fragments of limbs
and matter float in jars.
HOLMES
(inhaling deeply,
loving it)
Ammonium sulfate.
In the center of the room, something ROTTING. An
experiment generating a massive stench, a seething cloud
of flies. Holmes and Watson step closer to see:
DEAD FROGS. Eyes opened impossibly wide, their bodies
frozen in strange contortions, as if mid-death-rattle.
Holmes moves around the room, sniffing like a morbid
perfumer. Watson does his best not to gag.
HOLMES
(mumbles)
Phosphorous... Formaldehyde...
Hemlock...
WATSON
Appears he was attempting to
follow occult formula with
scientific practice.
Watson moves to the stove, sees a sheaf of BURNT PAPERS.
He digs through them, finds one piece not as burnt as the
rest. A CREST stamped on it, impossible to read.
Watson digs through his forensic bag, pulls out vials.
WATSON
Has he any hydrochloric acid?
(CONTINUED)
47.
56 CONTINUED: 56
Holmes shuffles a few bottles, tosses one to Watson.
Watson catches it, starts pouring the acid, another
chemical on a clean sheet of paper.
Holmes senses something, moves into the next room. He
stops at an open window, smells the CURTAINS:
HOLMES
Irene was here.
Watson presses the chemical-soaked paper onto the burnt
paper.
WATSON
Why would she hire you to find
him, if she planned to do the job
herself?
HOLMES
Maybe it's not the man she's
after, but something else.
Something he was working on?
WATSON
Ferrocyanide. Sucks the iron
right out of the ink. Long as
it's not too burnt...
Watson keeps rubbing the paper together, puts it by the
lantern. Slowly, faint words APPEAR on the blank page.
Ghostly chemistry. Watson sees the crest is Blackwood's.
WATSON
He worked for Blackwood.
Holmes gets a whiff of something, raises an eyebrow. He
starts walking back to the other room.
HOLMES
There's one odor I can't put my
finger on. Sweet, almost like
perfume... or sugar....
(stops, sniffs)
Barley sugar.
57 OMITTED 57
58 INT. REORDON'S ROOM 58
BOOM! The door WHIPS open. TWO THUGS spill into the
room.
(CONTINUED)
48.
58 CONTINUED: 58
They are followed by DREDGER, a huge man, just shy of
seven feet tall and pushing 400 pounds, slightly
deformed, who follows them into the room. He sucks on a
twisty stick of barley sugar (Victorian hard candy).
They stop, surprised to see Holmes and Watson. Holmes'
eyes widen at the giant.
HOLMES
Hello, gentlemen.
Dredger is deadpan.
DREDGER
Sherlock Holmes.
HOLMES
Let me guess -- you're here to
extinguish any connection between
the man who lived here and the man
you work for? Curious you'd still
be running errands for a dead man.
DREDGER
(smiles)
You do like to talk.
The two thugs step toward Holmes and Watson.
HOLMES
You take them, I'll handle Mr.
Sweet tooth.
WATSON
Seems about fair.
Watson meets the men in the middle of the room, swinging
at them. As they dodge and swing back --
Holmes grabs a standing lamp, sliding it into his hand as
a weapon. He looks at Dredger, knows it won't make a
dent. He keeps moving, swinging the lamp toward a
CURTAIN. In the blink of an eye:
He WRAPS UP the curtain, ripping it down, bringing the
heavy STEEL ROD with it. He catches the rod, flipping it
so the curtain-rings rain to the floor.
He spins the rod expertly, SMASHING it into Dredger's
face. It stuns the giant for a beat, but quickly --
Dredger LUNGES forward, trapping the steel rod under his
arm. He grabs the rod and HURLS Holmes through the air,
sending him flying into --
(CONTINUED)
49.
58 CONTINUED: (2) 58
INT. REORDON'S LAB
Holmes crash-lands on the table, scattering all the
bottles and tools. He blinks, trying to gather his
senses. He sees Dredger incoming, as --
Watson tussles with the thugs, a bar-room brawler. Head
butting one, kicking the other in the groin.
The men whip out knives. Watson ducks and dodges, blades
flashing on either side of him. One of the blades slices
his shirt, ripping off his pocket, so --
The ENGAGEMENT RING falls to the floor. One of the thugs
accidentally KICKS it, sending it across the ground.
As Watson follows the ring with his eyes, the first man
HURLS his knife. Watson just barely ducks the blade,
which SMACKS into the second thug, who falls. Watson
fights the first thug, as he scrambles toward the ring.
58A 58A
INT. REORDON'S LAB
Dredger bears down on Holmes. Holmes reaches out for
some kind of weapon, anything he can grab. He snatches a
SHORT SHAFT. A truly pathetic weapon.
Dredger lurches toward Holmes, who swings the metal shaft
desperately, and... the shaft SPARKS.
ZAP! A flash of light and crackle, and Dredger gets an
ELECTRIC SHOCK that sends him flying back twenty feet --
58B INT. REORDON'S ROOMS 58B
Watson finishes off his thug and plucks the engagement
ring off the floor, just as --
Dredger flies through the air, SLAMMING into Watson,
knocking him off his feet, and knocking the ring away.
Holmes looks at the lightning rod in his hand, stunned by
the efficacy of the weapon.
Dredger tries to recover, climbing off of Watson. Holmes
cranks his weapon. The rod sparks and hums.
Dredger pulls himself up with the help of a water pipe on
the wall. Holmes thinks quickly, then touches the other
end of the pipe with the rod, and ZZZAPPPP!!
The electrical current RUNS ALONG THE PIPE, and KNOCKS
Dredger back twenty more feet.
(CONTINUED)
50.
58B CONTINUED: 58B
Watson spots the ring rolling towards the window, starts
running for it, frantic as --
Dredger rises, a clear change in his demeanor. He looks
at the sparking rod and races for the window as well.
Watson chases the engagement ring, bends down... just as
he's about to grab it...
THUD! Dredger's massive foot STOMPS DOWN ON THE RING.
Dredger gives Watson a cruel smile, then leaps out the
window, landing atop a heap of coal. Watson glares as --
Holmes blasts past him, leaps out the window. Watson
picks up the ring, sees:
The stone was knocked out of the setting, lost in the
floorboards, the rest of the ring mangled. Watson
darkens, grips his ruined ring, and heads out --
59-60 59-60
OMITTED
61 EXT. TOOLEY IRONWORKS - GATE 61
Dredger runs down the street, knocking people out of his
way. Holmes gives chase, darting around people, trailing
Dredger through the gates of a huge commercial
shipbuilders. Watson brings up the rear, as --
61A OMITTED 61A
62 INT. SLIPWAY - DAY 62
Dredger runs towards a SLIPWAY, which holds the
UNFINISHED HULL OF A LARGE SHIP. The vessel can't be far
from completion; it sits in a wheeled carriage designed
to see it smoothly into water.
63 EXT. UN-LAUNCHED SHIP - FIRST SLIPWAY 63
For now though, big wooden chocks hold it in place, the
whole thing is attached to a heavy chain that coils back
around the shed that they just ran through.
Holmes trails the hulking form of Dredger into this
network of struts. They weave through the shadows.
Holmes sees one of the cables shifting slightly. He
takes an angle to cut off Dredger, and --
(CONTINUED)
51.
63 CONTINUED: 63
ZAP! Holmes steps into Dredger's path, hitting him with
the lightning-rod, knocking him back. ZAP!! Holmes
gives another jolt, but the shaft starts to LOSE POWER.
Dredger knows there isn't much juice left. He reaches
out, grabs the weapon and... smiles a terrifying smile.
A moment of reckoning between Holmes and Dredger:
The shaft slowly... sizzles... out. Dredger tosses the
rod. And now, Holmes backs away, as --
Dredger grabs a sledgehammer, and swings the hammer at
Holmes, smashing some of the wooden supports, tearing
others out of his way. The ship LURCHES forward.
64 EXT. FABRICATION SHED - DAY 64
Watson runs round the end of the building and sees Holmes
scrambling under the half-built hull. Dredger in
pursuit.
64A 64A
EXT. UN-LAUNCHED SHIP - SLIPWAY
A police WHISTLE echoes through the air. Dredger turns
for a moment, just long enough for --
Holmes to launch himself at Dredger. They tumble down
onto the massive runners on the floor of the slipway.
Holmes wrestles Dredger's head onto the runner and pins
him down. Dredger kicks out viciously, splintering
another chock. It's the last straw for the support
mechanism, the whole thing starts to creak.
64B EXT. FABRICATION SHED 64B
From his vantage point, Watson can see what's coming.
WATSON
Holmes!
65 EXT. SECOND SLIPWAY - CONTINUOUS ACTION 65
Grappling frantically on the runners, both Holmes and
Dredger look up as the HUGE CHOCKS holding the ship
EXPLODE BACKWARDS --
-- the PROPELLERS on the stern of the ship start sliding
down towards them.
52.
66 EXT. SECOND SLIPWAY - CONTINUOUS ACTION 66
Dredger looks up at the approach of the propellers --
-- Holmes charges into Dredger again, pulling him
backwards across the runners. Dredger pulls Holmes down
with him, Holmes' head hits the ground hard.
Holmes lies semi-conscious, eyes rolled back into his
head, as the leviathan roars down towards him.
The ground beneath him shakes, knocks his head against
the runner -- once, twice -- as he blinks back into
consciousness, he sees the great shadow sweeping over
him. He's doomed. And...
The stern lurches to a STOP INCHES from his face. He
opens one tentative eye, half expecting to find himself
in the after-life, and sees black metal an inch from his
nose. He realizes the ship has stopped, but he doesn't
know why. He tries to roll out of the way, as --
66A 66A
EXT. SECOND SLIPWAY - CONTINUOUS ACTION
We see the chain extended taut as a tight-rope behind the
half-launched ship.
The SHIP squeals and groans as its timber supports buckle
and crack with the weight of the tethered ship.
A beat where the whole business hangs in limbo and...
The timber finally gives way. The ship is free again,
falling through the air --
Holmes rolls sideways as the propellers slice through the
air above his head -- the hull screams past him with a
sound like the side of the world being torn off --
-- and then the ship's away, parting the Thames with a
vast, frothy explosion of water.
Holmes watches the ship drift gracefully out into the
river -- from vortex to serenity in a matter of seconds.
A quiet beat.
Holmes collapses back, great gulps of air disappearing
into his lungs. He tries to pull himself to his feet,
but Dredger's bone-shaking punches have taken it out of
him and he sags back to the ground.
Watson arrives, helps him to his feet. They stagger back
to the slipway where Dredger was standing. And they
find:
(CONTINUED)
53.
66A CONTINUED: 66A
Nothing. No blood or trace. The big man is gone.
The police whistles get louder, officers swarm the scene.
They see the wreckage, the ship adrift, and... Holmes and
Watson.
Watson looks at his watch and does a slow, deep burn.
67 INT. LONDON JAIL - MORNING 67
The next morning. A giant holding cell where every shade
and aspect of Victorian villainy is corralled.
Holmes wakes up on a bench after a peaceful night's
sleep. Watson sits next to him, exhausted, bloodshot
eyes. He's reading his notebook, making the odd change
here and there.
Holmes looks up and sees Watson staring at him, shaking
his head.
WATSON
I haven't slept all night. I
deserve this... I clearly deserve
it. How could I ever be so
deluded as to believe I could meet
Mary's parents for tea once I let
myself be talked into going with
you. Now of course I'm in jail.
Holmes tries to wiggle his fingers which causes him
enough pain that he decides to bind them with Irene's
handkerchief.
HOLMES
(theatrically
indignant)
You're not implying that I am
responsible for our current
situation are you, Watson? We
were set upon, man, it was self-
defense.
Watson shakes the notebook in Holmes' face.
WATSON
I've used the time to review my
notes on our exploits of the last
seven months... and I've come to
the conclusion that I must be
suffering from to some profound
psychological aberration.
(CONTINUED)
54.
67 CONTINUED: 67
WATSON (CONT'D)
Why else would I continually allow
myself to be led into situations
where you're deliberately
withholding your intentions from
me?
HOLMES
You've never complained about my
methods before.
WATSON
I'm not complaining... I never
complain... I never complain about
your violin playing at three in
the morning, your mess, your lack
of hygiene, your stealing my
clothes, your setting our home on
fire!
HOLMES
That was an accident...
Watson challenges him with a look.
HOLMES
The first time WAS an accident...
BIG MAN (O.S.)
Remember me, boys? Put me away
for robbery a few years back?
Holmes turns and comes face-to-face with a dangerous-
looking man who has a few conspicuous WARTS on his face.
HOLMES
Ah, Mr. Brownlee. The fifteenth
most dangerous man in London.
Watson snaps at the man.
WATSON
Who could forget that face? I
told you, a little nitrate of
silver and the warts will be gone
in two weeks. Now, if you'll
excuse us!
Brownlee takes a swing at Watson. Holmes checks him and
drops Brownlee without missing a beat.
(CONTINUED)
54A.
67 CONTINUED: (2) 67
WATSON
(to Holmes)
Nor am I complaining about the
fact that you terrorize my
patients and perform outlandish
experiments on my dog.
HOLMES
Gladstone's my dog as well. It's
in the interest of science.
WATSON
What I do take issue with is your
ruthless campaign to sabotage my
relationship with Mary.
HOLMES
Watson, I completely understand
now. You're overtired and feeling
a bit sensitive.
Watson now turns away, completely irritated at Holmes'
lack of understanding.
HOLMES
What you need is a rest. You and
I could go out to the countryside.
My brother Mycroft has a small
estate near Chichester. It has
marvelous grounds and a beautiful
folly. We could throw a lamb on
the spit.
Watson shakes his head in disbelief.
WATSON
If I were going to the country, I
would be going with my future
wife --
HOLMES
Certainly. We should have her
along. Let's get Gladstone out of
the house as well.
WATSON
No, Holmes. Not you. Me and her.
You're not --
HOLMES
Invited? Now you're not making
any sense, Watson. Why would I
not be invited to my own brother's
country home?
(CONTINUED)
54B.
67 CONTINUED: (3) 67
WATSON
You're not human. You don't get
it, do you? You are this...
(touches his own
head)
... without this.
He touches his own heart. They hear a BILLYCLUB hit the
bars.
PRISON GUARD
John Watson? You made bail.
Watson steps up. Holmes looks confused. He steps
forward. But the Guard shakes his head.
PRISON GUARD
Just Watson.
As he slides open the bars, they see... MARY emerges from
behind the Guard. Watson stands for a beat between
Holmes and Mary. He must make a decision. And he does --
-- he leaves.
Holmes watches him walk out, then locks eyes with Mary.
She gives him a polite nod, turns, heads off with Watson.
The bars slide shut.
The mob surrounds Holmes. He's never looked more alone.
68 68
INT. LONDON JAIL - CORRIDOR
Lestrade heads toward the holding room, flanked by prison
wardens.
(CONTINUED)
55.
68 CONTINUED: 68
As the door is opened, the thug blasts out backwards,
having just been battered through it by Holmes.
HOLMES
Lestrade -- your usual impeccable
timing.
LESTRADE
You know, in another life, you'd
have made an excellent criminal.
HOLMES
And you, sir, an excellent
policeman.
69 EXT. LONDON JAIL - DAY 69
Holmes and Lestrade march along. Lestrade holds out a
copy of the newspaper. The headline reads: "BLACKWOOD
LIVES AND THE DEVIL WALKS WITH HIM! MURDERER
RESURRECTED!"
LESTRADE
Tell me you have answers.
HOLMES
All in good time.
LESTRADE
We don't have time. I've an
office full of policemen hanging
crosses over their desks. A
public that's working itself into
a frenzy...
Holmes sees a dark, strange carriage waiting, door open.
HOLMES
Who's this?
LESTRADE
Try to behave yourself. They just
paid a small fortune to bail you
out.
70 OMITTED 70
71 INT. CARRIAGE 71
Holmes enters. An ANONYMOUS MAN sits in the other seat.
(CONTINUED)
56.
71 CONTINUED: 71
ANONYMOUS MAN
I'm afraid you'll have to put this
on.
He holds a black hood. Holmes shrugs.
CUT TO BLACK.
FADE IN:
72 INT. TEMPLE OF FOUR ORDERS HEADQUARTERS 72
The hood is pulled off. Holmes takes in the scene, eyes
flicking around the room.
He's in a grand office where a man in his late 60s, SIR
THOMAS, rises from a pile of papers.
SIR THOMAS
Mr. Holmes, apologies for
summoning you like this. I'm sure
it's quite a mystery as to where
you are, and who I am.
HOLMES
As to where I am -- I was,
admittedly, lost for a moment
between Charing Cross and Holborn.
But I was saved by the bread shop
on Saffron Hill, the only bakers
to use a certain French glaze on
their loaves. After that, the
carriage forked left, then right,
a bump over the Fleet conduit --
need I go on?
Somewhat stunned, Sir Thomas shakes his head.
HOLMES
As to who you are -- that took
every ounce of my not-
inconsiderable experience and
skill... the letters on your desk
are addressed to Sir Thomas
Rotheram, Lord Chief Justice.
That would be your official title.
Who you realy are is another
matter entirely.
Sir Thomas is not in the mood for this -- but Holmes is
on a roll.
(CONTINUED)
56A.
72 CONTINUED: 72
HOLMES
Judging by the sacred Ox on your
ring, you're also the secret head
of the Temple of the Four Orders --
in whose headquarters we now
stand, on the northwest corner of
St. James Square.
(beat)
And as to the mystery -- the
mystery is why you bothered to
blindfold me in the first place.
SIR THOMAS
Yes, well, it's standard
procedure, I suppose.
Holmes shakes his head; what a massive lack of judgement
on their part.
STANDISH (O.S.)
I think we have the right man.
Holmes turns to see JOHN STANDISH and LORD COWARD
standing behind him. Standish is an American in his
sixties. Coward is a hard, ambitious man in his 30s.
(CONTINUED)
57.
72 CONTINUED: (2) 72
SIR THOMAS
Sherlock Holmes, Ambassador
Standish from America and Lord
Coward, the Home Secretary.
Holmes acknowledges them -- barely -- as they enter. He
isn't impressed by rank.
LORD COWARD
I suppose you already have some
notion as to the -- practices of
our Order?
HOLMES
Yes. They're almost interesting.
SIR THOMAS
Be as skeptical as you like -- but
our secret systems have steered
the world towards the greater good
for centuries. The danger is that
they can also be exploited for
more nefarious purposes.
LORD COWARD
What some call the dark arts, or
practical magic.
Holmes looks around the room, sees FLAGS on the walls
with ancient symbols, variations of the SPHINX.
STANDISH
We know you're are a rationalist.
We don't ask you to share our
faith, only our fears.
HOLMES
Fear is the more infectious
condition.
(at Sir Thomas)
In this case, fear of your own
child.
That shocks them rigid.
HOLMES
Blackwood is your son, yes? You
have the same colored irises -- a
rare dark green, with diamond-
shaped hazel flecks --
(MORE)
(CONTINUED)
58.
72 CONTINUED: (3) 72
HOLMES (CONT'D)
(pointing at Sir
Thomas' ear)
-- plus identical outer ears, or
pinna, which only pass down
through the direct bloodline,
which would make you either
brothers, or, more likely, father
and son.
Stunned, the men consult silently, come to some sort of
conclusion. They turn back to Holmes. Sir Thomas seems
especially shaken.
SIR THOMAS
Very few people are privy to that
information, and we want to keep
it that way.
Sir Thomas opens a bureau, digs for something.
SIR THOMAS
He was conceived during one of our
rituals. His mother wasn't my
wife, but she shared our beliefs.
She was a powerful practitioner.
Though not enough to survive
giving birth to him.
Holmes is appalled and shows it.
SIR THOMAS
We were young. It was before we
fully understood the powers we
were dealing with.
HOLMES
Evidently.
SIR THOMAS
Death followed him wherever he
went, from his birth to arms he
made and sold. What family he had
tended to... not survive. No one
could prove anything of course,
but we all knew --
Sir Thomas hands Holmes a TINTYPE. A photograph from the
1860s. It's chilling: a death scene, a BODY covered by
a sheet. A man who's just fallen out a window. A TEN-
YEAR-OLD BOY -- young Lord Blackwood -- looks on.
SIR THOMAS
The boy was a curse. I didn't
have the courage either to take
him in or to --
(CONTINUED)
59.
72 CONTINUED: (4) 72
STANDISH
All this is history. The present
and future are worse.
SIR THOMAS
We've done our best to stop him
ourselves, but it's not enough.
LORD COWARD
His power grows daily and
exponentially. His resurrection
is evidence of that. What he does
next will be far more dangerous --
SIR THOMAS
-- he's going to raise a force
that will alter the very course of
our world. We need you to find
him and stop him before he does.
LORD COWARD
We'll give you any assistance we
can. As Home Secretary, I have
considerable influence over the
police.
(beat)
Name your price.
Holmes looks at Coward with scathing disdain.
HOLMES
One of the great benefits of my
work is that I can pick and choose
my clients. I'll get him, but not
for you.
Holmes stalks out -- stops at the door, turns, fixes Sir
Thomas with a very bleak gaze.
HOLMES
I have one last question, Sir
Thomas.
SIR THOMAS
What is it?
Holmes holds up the tintype.
HOLMES
If the rest of his family's dead,
why are you still alive?
Holmes tosses the tintype onto a table, leaves.
73 73
OMITTED
60.
74 EXT. THE GRAND HOTEL 74
Holmes comes out of a carriage, and scoots up the steps
of the massive hotel that's bustling with people.
75 INT. IRENE'S HOTEL ROOM - DAY 75
Irene enters wearing a stunning evening dress. She
pauses glancing briefly around the room before sitting at
a mirrored dressing table. There's a decanter on the
table next to her from which she pours herself a glass of
wine.
Then she begins removing an impressive assortment of
WEAPONS hidden on her person: she pulls a stiletto from
her garter, a Derringer from her waistband (which she
puts down next to the wine glass). She pulls long thin
needles from her hair, lets her hair down. As she
continues...
PULL BACK TO REVEAL Holmes watching her from a shadowy
corner. He looks on silently until:
IRENE
If you're going to watch me take
my clothes off, Sherlock, the
least you can do is help me with
the buttons.
OR ALT:
IRENE
To watch a lady undress without
her permission is a criminal
offense, Sherlock, and could get
you into a lot of trouble...
They both eye the Derringer on the table.
IRENE
So why don't you come over here
and help me instead.
Holmes approaches her somewhat tentatively and reaches
for the top button on the back of her dress.
IRENE
That's better.
HOLMES
You can stop looking for Reardon.
IRENE
I knew I could count on you.
(CONTINUED)
61.
75 CONTINUED: 75
HOLMES
He was buried in Blackwood's tomb.
Irene is momentarily taken aback then recovers.
IRENE
Wonderful. Case closed then.
Your services are no longer
required.
Unbuttoning done, Holmes steps out to confront Irene.
HOLMES
I can't help wondering if your
employer will be as content with
these results? You were
uncharacteristically ill at ease
in his presence. Your hand was
trembling, your gaze was averted.
I couldn't see his face, but I
spotted chalk on his lapel. A
professor perhaps?
Irene gets up, walks behind a DRESSING SCREEN.
IRENE
(behind screen)
The eye patch was a nice touch.
HOLMES
But I've never known a professor
to carry a gun, and on such a
clever contraption.
IRENE (O.S.)
Let's not argue.
HOLMES
We're not.
Irene steps out, now wearing an array of Victorian
undergarments. Unfairly gorgeous. The huge DIAMOND
still around her neck. She moves back to the dressing
table.
Holmes won't look at her, refusing to get turned on.
HOLMES
Tell me who you're working for and
what he's after.
IRENE
That's nobody's business but my
own.
(CONTINUED)
61A.
75 CONTINUED: (2) 75
HOLMES
I disagree.
IRENE
You see, we are arguing.
Holmes gets closer and closer to Irene as he presses his
case vehemently.
HOLMES
When a man you ask me to find ends
up dead in the coffin of the most
notorious murderer since Jack the
Ripper and that murderer manages
to return from the dead, not only
is it my business, it's the
business of Scotland Yard and the
highest levels of the British
government. They will certainly
consider your reticence to be an
obstruction of justice. Which in
relation to a crime of this
magnitude would certainly mean
prison time.
IRENE
This wine is excellent. You
should really try some.
Holmes notices her Derringer on the table next to the
wine bottle.
HOLMES
So what's it to be?
IRENE
Do we really have to decide now?
Irene reaches for the wine.
HOLMES
You're in over your head this
time, Irene.
Irene snatches up her gun. Holmes grabs her arm.
BANG! A BULLET tears into his shoe, missing his toe.
Holmes snatches away the smoking Derringer. Irene kisses
him, hard and angry at first, becoming something else.
Another of the weapons in her arsenal, and the one that
disarms Holmes.
The kiss leads them to the bed.
(CONTINUED)
62.
75 CONTINUED: (3) 75
IRENE
That's better.
Irene pulls him down to it. He doesn't resist.
CLICK!
Holmes' eyes flare with surprise.
CLICK!
IRENE
Much better.
Irene has handcuffed him to the bed frame.
IRENE
This is the only way it could ever
work between us, Sherlock -- one
in shackles, the other with the
key.
She gets off him.
While he struggles on the bed, Irene walks casually
across the room. She starts putting on MAN'S CLOTHING.
She's in charge now.
IRENE
I've NEVER been in over my head.
HOLMES
How can you live like this --
always a fugitive.
She approaches, now dressed as a man, straddles him.
IRENE
But free. And on my own terms.
Just like you -- well, not you at
this exact moment --
(CONTINUED)
63.
75 CONTINUED: (4) 75
She pulls at the front of his trousers, throws the
handcuff keys down there.
IRENE
-- but generally speaking.
Holmes has no retort. Irene takes the scarf off his
neck, moves to the doorway.
IRENE
If anyone asks, please let them
know that Mr. O'Neil didn't have
time to check out.
(beat)
I hope you don't mind settling the
bill.
OR ALT:
IRENE
What were you doing consorting
with a married business traveller
in his hotel room is something
you'll have to explain for
yourself.
She picks up TWO SUITCASES waiting for her at the door
(NEW PROP!) and, as she leaves:
IRENE
Where's Watson when you need him?
75A 75A
OMITTED
76 INT. SIR THOMAS' HOUSE - NIGHT 76
Sir Thomas enters the hall from outside, he looks tired.
His butler, PERIGRINE, stands there waiting for him.
PERIGRINE
Good evening, sir. Some figs and
honey with a nice glass of port?
I've prepared a tray.
SIR THOMAS
No thank you, Perigrine, I'm going
to bed.
(as he heads
upstairs)
You won't let those figs go to
waste, will you?
(CONTINUED)
63A.
76 CONTINUED: 76
PERIGRINE
Nor the port, sir.
Thomas smiles, goes up. Perigrine heads for the kitchen,
licking his lips.
77 INT. SIR THOMAS' BATHROOM 77
Sir Thomas sinks into his bath. Relaxing.
The CAMERA SLOWLY TRACKS IN, drip, drip, drip.
The silence is broken all of a sudden when the tap is
magically turned on. Sir Thomas opens his eyes in panic,
as he hears an eerie WHISPER O.S., like the rushing of
wind.
Sir Thomas is overcome with panic, tries to sit up.
Can't. Not all the way.
(CONTINUED)
64.
77 CONTINUED: 77
BLACKWOOD (O.S.)
Hello, Father...
Thomas blinks and sees that BLACKWOOD now sits in the
corner of the bathroom, lit in a sinister fashion.
Sir Thomas' eyes widen, the muscles stand out in his neck
as he fights paralysis. He slides back down, slowly.
BLACKWOOD
You can't fight it. It comes from
a power greater than yours. You
can only surrender.
The water flows over Sir Thomas, as Blackwood steps
closer and takes the sacred RING from his rigid finger.
BLACKWOOD
I've been imagining this moment
for a long time...
The water closes over his face. Sir Thomas stares up at
Blackwood, who watches him drown, slowly and surely.
BLACKWOOD
... I must admit, it's better than
I thought it would be.
78 78
INT. THE GRAND HOTEL - CORRIDOR - DAY
Carrying an armful of laundry, a MAID slips a pass-key
into a lock and opens the door...
... to be confronted by the snoring form of Holmes, still
handcuffed to the bed. Clothes in total disarray. Her
shriek wakes him. He looks down at himself and reacts
with shock, then grim recognition sets in.
HOLMES
Don't take this the wrong way, but
might I borrow your hand?
78A INT. POLICE CARRIAGE 78A
Holmes sits beside a COP, and opposite CONSTABLE CLARK.
HOLMES
Chambermaids were once such a
liberal breed. Besides, she
misinterpreted my intention
entirely.
(MORE)
(CONTINUED)
65.
78A CONTINUED: 78A
HOLMES (CONT'D)
This is why I find this modern
religious fervor so troubling,
there is no latitude for
misunderstanding.
He looks out the carriage window and sees signs of a
spiritualist gathering.
HOLMES
Faith runs riot over reason.
CONSTABLE CLARK
Well, it's a good thing she was
offended or we'd never have found
you. The inspector's been over to
Baker Street himself this morning.
The coach stops.
78B 78B
EXT. SIR THOMAS' HOUSE - DAY
Holmes steps out of the coach, and is escorted inside by
Constable Clark.
78C INT. SIR THOMAS' BATHROOM 78C
Holmes is briefed by Constable Clark as they enter. As
Constable Clark continues in, Holmes swivels away --
CONSTABLE CLARK
We've checked everything. No sign
of a break-in. The Butler didn't
hear anything. The body was in
the tub, eyes wide open --
-- so that Const. Clark ends up talking to thin air.
CONSTABLE CLARK
(realizing Holmes
isn't there)
-- only his ring was missing.
He turns, puzzled, looking for Holmes, finds him right
back at the doorway, in full virtuoso detective mode.
Right now, right here is where Holmes is at his very best
-- this is, in fact, why he exists.
Holmes is satisfied by what he sees or finds, continues
into the bathroom, where a POLICE OFFICER stands over the
tub and Sir Thomas' body (covered with a blanket).
The tub has been drained. The kind of crime scene
violation that Holmes cannot get them to stop doing.
(CONTINUED)
65A.
78C CONTINUED: 78C
HOLMES
Why did you drain the water?
POLICE OFFICER
Out of common decency.
HOLMES
(incensed)
Crime is common, logic is rare.
The decent thing to do is catch
the killer, not provide comfort to
the corpse.
Neither the officer nor Clark have a response. Holmes
swivels, sees a JAR OF BATH SALTS on the table next to
the chair Blackwood sat in, leans over, scoops it up,
opens it, sniffs it.
HOLMES
Hmm...
Holmes thrusts the open jar under the Officer's nose.
HOLMES
What is that?
POLICE OFFICER
(smelling)
Uhhhh... jasmine?
HOLMES
Superb. I suspect this comes from
a larger cannister. It'll either
be in the pantry, high up where
it's warm and dry, or in a linen
closet with a vent. And,
Constable, you could check the
ground under the rear windows for
any footprints not your own.
Both cops hesitate -- Holmes is not their boss.
HOLMES
Data, data, data! I cannot make
bricks without clay!
The cops hurry away. Now Holmes can really get down to
work. This may mean he gets on his belly for a floor's-
eye-view, it may mean he looks down from a window sill.
Sometimes he hums or sings to himself.
Holmes is happy.
He glances around the room, sees the chair where
Blackwood was perched, sits in it himself.
(CONTINUED)
65B.
78C CONTINUED: (2) 78C
His eyes keep moving, noticing something on a wall. He
steps toward it, runs his hand along a layer of dust.
The dust has a line down it, as if the wall cracked open.
Holmes steps to the sink, grabs a handful of TALCUM
POWDER and tosses the powder against the wall, revealing:
(CONTINUED)
66.
78C CONTINUED: (3) 78C
FINGERPRINTS on one of the panels.
He pushes the panel, and the wall shifts, opening to
reveal a SECRET ROOM. Holmes enters --
78D OMITTED 78D
78E INT. SIR THOMAS' SECRET ROOM 78E
Holmes finds a desk with a prayer table, and ancient
texts, spellbooks, one book open to a picture of
Alexander the Great at the Sphinx. He steps toward --
An ALTAR below the image of the Sphinx. On the altar,
four strange objects: a strand of human HAIR, a cow's
BONE, a large sharp FANG, and a FEATHER.
Holmes pockets the altar items and a couple pieces of
paper, just as --
78F 78F
INT. SIR THOMAS' BATHROOM
-- Const. Clark and the Officer return, the Officer
proudly hugging a 5 LB. CANNISTER OF JASMINE BATH SALTS.
They are startled by the secret room --
-- they are even more startled by the sight of Holmes
kneeling at the altar and singing to himself.
As soon as they arrive, Holmes springs to his feet and
walks out. Maybe he continues singing between words.
HOLMES
(vis the secret room)
I have no idea what to make of
that.
(vis the bath salts)
Excellent work.
79 OMITTED 79
80 INT. 221 BAKER ST. - HOLMES' APARTMENTS - DAY 80
Holmes walks up the stairs and finds Watson's office door
open. He is well into packing his things. The office is
full of boxes, the walls and shelves are very sparse.
(CONTINUED)
66A.
80 CONTINUED: 80
HOLMES
Don't forget the wallpaper.
WATSON
There isn't any.
HOLMES
Figure of speech.
Holmes steps into the room.
HOLMES
Since this room is no longer in
use, do you mind if I employ it?
WATSON
Be my guest.
HOLMES
Bring him in, boys.
Holmes steps aside. Two/three policemen enter carrying a
large, heavy bag and unceremoniously dump it on Watson's
desktop. They unzip the bag, revealing the dead body of
the thug from Reordon's lodging.
(CONTINUED)
67.
80 CONTINUED: (2) 80
WATSON
Who was he?
HOLMES
My new roommate. He's an
inspiring conversationalist.
(alt: He has more humor than
you.)
WATSON
Really.
HOLMES
No, he's your friend from
Reordon's. He didn't survive
Dredger landing on him. Poor
fellow. But there is some
consolation in the knowledge that
he can still be of service to his
fellow men.
Watson keeps packing. Holmes analyzes the body,
starting, of all places, with the outer elbows and
forearms of his coat.
Holmes grabs various instruments and other items from
Watson's newly-packed boxes. Frustrated, Watson snatches
them back as quickly as Holmes takes them out.
(CONTINUED)
68.
80 CONTINUED: (3) 80
HOLMES
Elbows and arms stained with
blood, but older than his own
injuries. Plenty of it, layer on
layer...
Holmes scrapes at the layers of blood with his knife,
examines it.
HOLMES
Though none of it human.
Watson slows down slightly. He keeps packing, trying to
resist the mystery, but it's not easy.
HOLMES
A butcher perhaps...? What else?
Holmes cuts a lock of the man's hair, ignites it, studies
the color of the flame carefully. Watson wrinkles his
nose at the smell.
HOLMES
Hm -- predominantly yellow flame,
but with distinct green bursts.
Sulfurous. He spent lots of time
around industrial work and very
little around a wash basin.
Holmes uses a curved nail file to scrape dirt from under
the man's fingernails, rubs the evidence between his
fingers like a connoisseur.
HOLMES
Coal... river silt...
Watson slows down further, struggling.
HOLMES
That plus the river silt and
industrial slag on his trousers
puts him squarely in...
A hanging beat. And Watson finally cracks, blurting out:
WATSON
Nine Elms.
HOLMES
Well done. Now, you didn't happen
to pack the Lord's Register of
members' interests, did you?
Watson pulls it out of a box.
(CONTINUED)
68A.
80 CONTINUED: (4) 80
HOLMES
See what Blackwood admits to
owning.
As Watson flips through it, Holmes plucks a few chords on
his violin, thinking. Watson finds the page.
WATSON
It's endless, he's had a hand in
just about everything that's not
good for you.
(CONTINUED)
69.
80 CONTINUED: (5) 80
HOLMES
Something brutal by the river...
WATSON
Woolwich Arsenal... Limehouse
Chemical... Queenshithe
Slaughterhouse, Nine Elms!
HOLMES
That's it, Watson! This should
lead us right to Blackwood.
Holmes leaps up and readies himself to leave.
WATSON
Not us, you.
This gives Holmes pause.
HOLMES
Right. Well uh... best of luck
with everything, then.
WATSON
Same to you.
A brief nod, then Holmes is gone.
A beat as Watson continues packing. He heaves a box up,
moves for his suitcase. After a moment, he notices...
Holmes' PISTOL.
WATSON
Not again.
He picks it up. As he contemplates the weapon, he
becomes more serious. Then angry. He mouths a curse to
himself, and sees their DOG giving him a disapproving
look.
WATSON
Yes, I know. Don't give me that
look, Gladstone.
He pockets the gun, grabs his jacket and heads out.
81-82 81-82
OMITTED
82A EXT. COURTYARD - NIGHT 82A
A figure moves across the dark, Gothic courtyard. It is
AMBASSADOR STANDISH. As he cuts through the shadows...
(CONTINUED)
70.
82A CONTINUED: 82A
A few DROPS OF RAIN trickle down. He looks up, surprised
by the rain. He raises his collar, and keeps moving.
He hits the door to a building. It is locked. He bangs
on the door, as the rain comes harder. The door finally
opens. As he enters, we see the rain stops behind him,
gone as fast as it came. A RAVEN flaps into the night.
82B INT. TEMPLE OF FOUR ORDERS HEADQUARTERS - NIGHT 82B
Standish comes up the stairs, wiping the raindrops off
his coat, trying to dry himself, as he enters --
83 INT. TEMPLE OF FOUR ORDERS HEADQUARTERS - COUNCIL CHAMBER 83
A five-sided room. A few dozen venerable-looking
characters arrange themselves in seats. Lord Coward
stands next to a central throne. He stays standing as
they all sit -- all except STANDISH.
STANDISH
What's the meaning of this? Why
did you call us here?
LORD COWARD
Sir Thomas is dead. Effective
immediately, I nominate Lord
Blackwood as head of the Order.
STANDISH
Are you mad, Coward? Have you any
idea what he's capable of?
BLACKWOOD (O.S.)
Of course he does. It's why he's
here.
Blackwood enters. He looks as if he's been to hell, and
come back more powerful than ever.
The crowd is stunned. Standish looks at Coward,
betrayed, turns to the others -- who are transfixed by
the sight of Blackwood suddenly kneeling before them.
BLACKWOOD
I am humbled. I am honored.
(beat)
My powers and my assets --
munitions, shipping, industry --
they were given to me for a
purpose.
(MORE)
(CONTINUED)
71.
83 CONTINUED: 83
BLACKWOOD (CONT'D)
A magnificent and simple purpose.
A different future... a future
ruled by us.
Blackwood stands, prowls.
BLACKWOOD
You've made policy in secret for
centuries. Now, you'll make it
openly.
The men are beginning to like what they hear.
BLACKWOOD
The first act is a necessary one,
for without death there can be no
rebirth...
(beat)
... at noon tomorrow, we will take
the first step towards a new
chapter in history.
(beat)
England will know our power.
Then, the whole world will.
Across the Atlantic lies a colony
that was once ours, and will be
again. Their civil war weakened
them; their government is as
corrupt and ineffective as ours.
We'll take it from them.
(beat)
With their resources and our
power, we'll remake the world,
we'll create the future.
(beat)
Are you with me?
STANDISH
No, sir, we are not!
(turning to the
others)
The powers he's playing with are
beyond any man's control.
BLACKWOOD
They're limitless -- even death
holds no sway.
STANDISH
Help me stop him before it's too
late.
Nobody moves. Blackwood smiles -- he's won.
(CONTINUED)
71A.
83 CONTINUED: (2) 83
In desperation, Standish pulls a gun. But as he aims it
at Blackwood -
BLACKWOOD
I wouldn't do that.
-- he IGNITES, combusting with an impossible BLAST OF
BLINDING HOT FLAMES!
The men in the room reel backwards, shocked, terrified.
Flames consuming him, Standish flails, crashing through a
window out to --
83A EXT. LONDON STREET - NIGHT 83A
The fireball plummets through the sky, lighting city
blocks. People look up, gape, and --
WHOOMPF! Standish lands on the roof of a carriage.
Horses and carriages SCREECH to a stop.
The flames flicker blinding white, as his body contorts,
melting away. People scream, gasp, faint, cross
themselves, as they witness this unnatural act.
83B 83B
INT. TEMPLE OF FOUR ORDERS HEADQUARTERS
Blackwood turns away from the window, surveys them. They
are terrified, but they are with him.
(CONTINUED)
72.
83B CONTINUED: 83B
Blackwood turns to Coward, nods.
Coward produces a brimming silver chalice.
BLACKWOOD
Come, drink your allegiance here.
The members line up to drink from a CHALICE. It doesn't
taste good, but it tastes like power. As they drink,
Blackwood leans close to Coward:
(CONTINUED)
73.
83B CONTINUED: (2) 83B
BLACKWOOD
You control the police. Use them.
Coward nods.
84 EXT. QUEENSHITHE SLAUGHTERHOUSE - ESTABLISHING - NIGHT 84
An industrial area on a bend of the Thames. Work doesn't
stop when the sun goes down. Wharves stretch out into
the water. WE SEE a boat is being loaded. We PULL BACK
FROM the scene and look ACROSS the water.
Just above the thump of industry we can hear a
distinctive and irregular CHUGGING sound. Slowly a
decrepit and eccentric little steam launch chugs INTO
VIEW. Holmes is on the deck along with a much older man
in a sailor's hat -- CAPTAIN TANNER.
HOLMES
Everything all right, Captain
Tanner?
Captain Tanner has few teeth and a large white beard.
TANNER
Just a little leak, nothing to
worry about.
Watson is busy with a bucket clearing the boat of a very
serious leak. He's soaked, and furious.
TANNER
Not a great one for the water, are
you, doctor? Army type, aren't
you? You wouldn't have lasted
long in the Navy.
Watson glares. Holmes scans the banks with a telescope.
He sees a jetty with a few shadows shifting on it. The
engine shudders off, the boat drifts. Tanner whispers:
TANNER
That's as far as we can go.
Holmes starts clambering over the side. Watson's pissed.
WATSON
There must be fifty yards of mud
out there.
Holmes' head is just visible before he drops over the
prow. He whispers at Tanner.
(CONTINUED)
74.
84 CONTINUED: 84
HOLMES
Pull in at Vauxhall. Send for the
police when you get there.
Tanner nods. A soft "splosh" as Holmes disappears.
Watson carefully leaves his valued possessions behind,
watch, etc. He lays down his wallet and looks at Tanner.
WATSON
I know precisely how much money is
in there.
TANNER
(taking the piss)
I am sure you do, doctor.
Watson glares, goes over the side, with his walking
stick.
85 85
OMITTED
86 EXT. QUEENSHITHE SLAUGHTERHOUSE 86
Holmes and Watson emerge out of the shallows, covered in
mud. Holmes doesn't seem bothered. Watson does.
They look up and see a jetty that heads out into the
river. Two shadowy THUGS guard the dock, while more
THUGS are loading the boat with something.
Holmes and Watson scuttle forward, towards the entrance,
where two more THUGS patrol. Watson pulls out Holmes'
GUN.
HOLMES
What are you doing with my gun?
WATSON
Oh, please.
HOLMES
It was an honest mistake --
WATSON
There was nothing honest about it.
Holmes looks back at Watson, takes the gun, says nothing,
the closest he'll come to a confession. Watson steps
forward.
WATSON
Come on, let's get this over with.
(CONTINUED)
75.
86 CONTINUED: 86
They look out at the thugs guarding the door. Holmes
whispers, trying to figure out the best strategy.
HOLMES
The one on the left seems more
attentive, might prove easily
distracted. The big one's been
drinking -- whether for courage or
from habit... Watson?
Watson has already left. He simply walks up to the door
and whacks the larger man in the face with the gun --
before dispatching the other with a backhand pistol-whip.
Holmes follows, notices that both men have hip flasks.
He picks one up, takes a whiff, and pockets it as he
follows Watson. He slows, sensing something behind him.
He turns, looks at shadows. Nothing. And he enters --
87 87
OMITTED
88 INT. QUEENSHITHE SLAUGHTERHOUSE - TUNNEL 88
Holmes walks towards Watson who stands in the doorway,
stopped in his tracks, spooked. Holmes catches up,
passing Watson into --
89 INT. QUEENSHITHE SLAUGHTERHOUSE - ANTECHAMBER 89
Shadows on shadows. Metal groans softly, like a
plaintive wail. The twisted blades of slaughterhouse
instruments glimmer in the darkness. A few RATS lay
dead. A truly creepy scene. Holmes and Watson move
through it.
As they go, Holmes notices rows of empty tables. He runs
his finger through a layer of dust, inspecting it.
Quiet:
HOLMES
They cleared something out of
here, not minutes ago...
Holmes slows, picks up one of the dead rats. He inspects
it, sees something on its skin, some kind of dark spore.
WATSON (O.S.)
Holmes. You need to see this.
Holmes looks up, and sees Watson standing at a set of
doors.
(CONTINUED)
76.
89 CONTINUED: 89
Holmes pulls out a CIGAR-CUTTER, CLIPS off the rat's
TAIL, slipping it into his pocket, as he joins Watson,
stepping into --
90 INT. QUEENSHITHE SLAUGHTERHOUSE - FACTORY FLOOR 90
A massive space with a maze of machinery full of deadly
gears and blades and saws, lifeless and silent for now.
An automated butchery on a grand scale. This is the
killing floor. Huge hooks hang from chain belts on an I-
beam, the ceiling, swaying softly, whispering in the
wind.
On the high walls, a huge number has been scrawled: 118.
WATSON
One-eighteen. It's a date, a
time?
Holmes shakes his head, his eyes narrow, ticking.
HOLMES
It's chapter and verse.
Revelation 1:18. `I am He that
liveth, and was dead.'
Another voice completes the passage, echoing from above:
BLACKWOOD (O.S.)
`And behold, I am alive
forevermore, and have the keys of
hell and of death. Amen.'
Holmes and Watson follow the voice to see: BLACKWOOD in
the rafters. Shadows hang heavy around him. Holmes and
Watson react: this is the first time they've seen him in
the flesh.
BLACKWOOD
I cautioned you to accept that
this is beyond your control. Now
you see the truth for yourself.
The hooks in the ceiling are shivering softly, strangely.
Holmes tightens. Blackwood continues, his voice echoes,
as the hooks move through the air, gliding on a track.
BLACKWOOD
I want you to bear witness. At
noon tomorrow, the world as you
know it ends.
Watson pulls his gun, draws a bead on Blackwood, pulls
the trigger. Click. Misfire.
(CONTINUED)
77.
90 CONTINUED: 90
BLACKWOOD
And because I appreciate your
help, Holmes, I have a gift for
you.
Holmes starts climbing up towards Blackwood.
BLACKWOOD
(voice moving away)
She followed you. You led your
little lamb straight to slaughter.
Suddenly the whole machine starts up. Industrial-
strength loud, movement everywhere, empty hooks jerking
towards the processing line. Blades and gears and
grinders churn.
Watson's eyes go from Blackwood to --
A pig carcass as it comes swinging out of the killing
area, towards the SCORCHER (which scorches the carcasses
with live flame).
Then next carcass emerges --
-- not a carcass, Irene. She is alive, for now. She
hangs from two hooks on a track-line, her wrists shackled
above her, her mouth gagged.
Her eyes show terror until she sees them, then immense
relief for a moment, then determination.
Holmes looks up to see Blackwood's shadow retreating.
Decision time.
90A 90A
INT. QUEENSHITHE SLAUGHTERHOUSE - ASSEMBLY LINE
Holmes drops on to the machine and leaps from gear to
gear like stepping-stones. He heaves himself up to the
conveyor, where Irene is being pulled down the assembly
line towards the flames.
Watson sprints ahead, looking for a shut-off switch.
Holmes unties Irene's gag.
HOLMES
It's your turn in shackles this
time.
Ahead of them, the pig carcass is scorched in an
overwhelming burst of flame. Holmes and Irene are next.
(CONTINUED)
78.
90A CONTINUED: 90A
IRENE
But this time no key,
unfortunately.
Holmes notes that Irene's hands are shackled to separate
hooks. It's going to take two actions to free her.
The flame machine gurgles ominously, gearing up for the
next blast.
Watson sees a LEVER (PLEASE NOTE, NEW PROP!) that looks
promising, turns to head for it -- then his eyes focus on
a big canvas splatter cloth.
HOLMES
I've been meaning to ask you
something --
IRENE
Well, I'm a captive audience.
Watson rips down the splatter cloth, sprints to Holmes
and Irene, tosses the cloth across the conveyor belt to
Holmes --
-- who wraps them up in the thick cloth just before the
flames hit them.
The heat is excruciating -- but the cloth protects them.
Watson watches anxiously as the scorched cloth drops
away, revealing that Holmes and Irene made it -- just.
Relieved, Watson heads for the lever until "Oh Shit!" he
looks ahead --
-- sees the scorched pig carcass being dragged into a
long, conveyor-belt-wide SCALDING TANK OF BOILING WATER.
Decision time for Watson -- help Holmes and Irene, or try
the lever? He goes for the lever, reaches it, pushes it
all the way over --
-- and the belt speeds up with a jerk.
Watson hauls back on the lever, gets the belt back to the
original speed, looks around for another possible off
switch.
Just as they reach the scalding tank, Holmes jumps off
the belt (still opposite side to Watson), grabs Irene's
legs and pulls her horizontal just before she's dragged
into the boiling water.
(CONTINUED)
79.
90A CONTINUED: (2) 90A
She's suspended just above the boiling water, with Holmes
moving sideways, keeping pace with her.
IRENE
(trying her best not
to show the strain)
You had a question.
Holmes keeps hold of Irene's feet as he maneuvers past
various obstacles --
HOLMES
(same)
Ah. Yes. Do you still maintain
you're not in over your head?
IRENE
(panting)
In some countries steam is
considered excellent therapy for
the skin.
-- then is gouged in the back by a whirling fan belt,
jerks away, and Irene touches the water, SCREAMS.
Watson hears the scream, turns -- then sees something
again. It pisses him off. Fuck this machine.
When Holmes has Irene stable again:
IRENE
(weakly)
I have to say -- it's overrated.
Holmes has to admire her courage -- until he hears Watson
yelling at him.
Up ahead a huge pipe spews boiling water into the tank --
and impassable obstacle from Holmes' side of the conveyor
belt.
Watson points at the I-beam running above them. Holmes
nods. Irene sees it, too.
Holmes helps her reach one foot, then other up to the I-
beam. She hooks her feet over it, and is suspended
upside down by her shackles and her feet --
-- and still heading for the pipe spewing boiling water.
Watson appears opposite Holmes, nods up at Irene. She
swings off the I-beam, through the air --
(CONTINUED)
80.
90A CONTINUED: (3) 90A
-- and Watson catches her feet, pulls her horizontal,
facing the other way just in time to avoid the gush of
boiling water.
As Watson holds Irene, he spots a small, but significant-
looking SWITCH on the wall, painted red. (PLEASE NOTE,
NEW PROP!)
Watson helps Irene back onto the conveyor belt, leaves
her for Holmes to deal with, sprints for the switch.
Irene rides the belt upwards. Holmes clambers the
equipment, following her.
Up ahead, the scorched, scalded pig carcass precedes
them.
Holmes darts through a trimming station, with CLEAVERS
HANGING FROM CHAINS, grabs one, jumps onto the belt,
catches up to Irene --
-- just as they both see the pig carcass CUT IN HALF
LENGTHWAYS BY A GIANT BANDSAW.
Holmes wastes no time, swings the meat cleaver at the
lock shackling Irene's left hand. Sparks fly as metal
kisses metal, but that's all. She's still shackled.
Then both of them see that Watson has reached the SWITCH.
Whew!
Watson looks at them with relief -- close one -- and
pulls the switch down with a really satisfying CLUNK!
A bank of lights goes out but the conveyor belt keeps
moving towards the giant band saw.
Shit a brick.
IRENE
Sherlock?
Now, she's showing nerves. So is Sherlock. He braces
himself on the belt, swings the cleaver with all his
might --
-- smashes the shackle lock.
Irene swings sideways violently, still shackled by her
right hand.
The bandsaw whines viciously.
Irene swings aside, just misses it.
(CONTINUED)
80A.
90A CONTINUED: (4) 90A
Gets a free haircut.
Then Holmes is under her, lifting her high so that she
can free her right hand (a move not possible with both
shackles).
Irene unhooks herself, falls forward, taking Holmes with
her. They plummet downwards OUT OF FRAME.
Watson sprints towards where they fell, looks down --
-- sees them lying on a carpet of scorched, boiled, cut-
in-half pig carcasses. They're okay.
Watson shakes his head, turns, heads for the door,
looking for Blackwood.
Irene gives Holmes a sweet, grateful smile --
IRENE
Thank you so much. I owe you.
-- pulls a knife, gets up, heads after Watson. Holmes
grabs her, stops her.
HOLMES
You owe me information.
(angry)
No more games, Irene.
She hears Watson opening the door to the dock. She looks
at Holmes, their eyes locking. Finally, the truth:
IRENE
Blackwood's manufactured large-
scale weapons for years. Lately
there've been rumors of something
new. More powerful than anything
else. And... magical. My job is
to find out if the rumors are
true.
(MORE)
(CONTINUED)
81.
90A CONTINUED: (5) 90A
IRENE (CONT'D)
(beat)
I would say they are.
And she's off, running toward the door. Holmes trails
her, processing. They blast through the doors to --
91 EXT. NINE ELMS JETTY 91
Watson runs out of doors and towards the end of the dock.
He sees: Blackwood and the boat are disappearing into
the darkness.
Holmes and Irene run out of the doors following Watson.
Holmes slows, looking around the dock, seeing something
on the planks:
Steel drums are dripping. A chemical. Holmes recognizes
it.
HOLMES
Watson!
Watson continues down the dock, tripping a wire connected
to the steel drums, he turns realizing he has set off a
trap and turns back to warn the others --
WATSON
Holmes...
A metallic conductor SPARKS. Time slows. BOOM!
The drums of chemicals all EXPLODE! A blinding
conflagration engulfing Watson. For a moment, it lights
up all of London.
HOLMES
WAATTTSSSSSONNN!!!!
Holmes is pushed back by the explosion as the rest of the
barrels that line the dock begin exploding arond them --
it looks as it Watson hasn't survived. BOOM! Irene is
knocked to the ground by the blasts and flying debris.
Holmes races towards her as more explosions, flames and
debris fly all around him in slow motion, occasionally
knocking him to the ground.
He reaches Irene, picks her up and grabs part of an
exploded barrel to shield the two as they run for cover --
BOOM! The barrel splinters as a final blast knocks them
down, but to safety.
As he opens his eyes --
(CONTINUED)
82.
91 CONTINUED: 91
We see Lestrade and his men swarming the scene, they spot
Watson, alive, but unconscious. Irene has disappeared.
Holmes sees this and heads toward his friend, but --
-- is intercepted by Constable Clark.
CONSTABLE CLARK
There's an order for your arrest
all the way from the top, sir --
so you'll have to hit me now.
HOLMES
From Lord Coward?
CONSTABLE CLARK
Yes, sir, so make it look good.
HOLMES
Thank you, Clarky.
Holmes cracks Constable Clark in the sweet spot, helps
him gently to his knees. Holmes turns away, makes his
escape fast.
Holmes turns back to look at the explosion.
92 92
INT. HOSPITAL - CORRIDOR
Two POLICEMEN half-heartedly guard the end of a corridor.
One reads the paper. The headline: "AMERICAN AMBASSADOR
STANDISH BURNED ALIVE!"
Mary returns past them, having unsuccessfully washed away
tear-stained makeup; there is a smear on her cheek. The
two coppers nod respectfully.
Mary arrives at the windowed door of a private room,
reaches for the handle, pauses.
THROUGH THE GLASS, she sees a white-coated DOCTOR,
studying Watson's chart.
Mary stays at the door, unsure whether to enter or not.
93 INT. HOSPITAL ROOM 93
WE SEE a newspaper on the nightstand next to a hospital
bed, the headline reads: "AMERICAN AMBASSADOR STANDISH
BURNED ALIVE!"
(CONTINUED)
82A.
93 CONTINUED: 93
Watson is burned, cut, bruised, scraped, pock-marked with
shrapnel. He mumbles inaudibly, his eyes still closed.
He's delirious, sweating.
(CONTINUED)
83.
93 CONTINUED: (2) 93
(NOTE: Mary's detective novels and magazines, coat,
handbag, etc. already in the room.)
The doctor injects Watson in the arm. The shot wakes
him. Watson tries to sit up, wincing with pain.
WATSON
What are you administering?
DOCTOR
Morphia. A sixth of a grain, for
the pain.
Watson looks at his wounded shoulder.
DOCTOR
There are four pieces of shrapnel.
The surgeon should be along
shortly.
Watson tries to sit up again.
This reveals that Mary has entered the room, stands back
respectfully, letting the Doctor do his work.
WATSON
Are they subcutaneous, or deeper?
DOCTOR
They're near the carotid artery.
WATSON
Get a mirror, I'll extract them
myself.
DOCTOR
I can't authorize that, Doctor.
We must first manage the pain and
combat the infection.
WATSON
I haven't time for that. My
friend is in dire --
DOCTOR
Your friend? What kind of friend
takes a retired soldier, who's
served his country and deserves a
peaceful, private life, and puts
him so directly in harm's --
Watson grabs the Doctor's arm angrily.
(CONTINUED)
83A.
93 CONTINUED: (3) 93
WATSON
The best and wisest man I've ever
known.
DOCTOR
But evidently not wise enough to
value your life over his
misadventures.
ON MARY
As she takes a closer, sharper look at the Doctor.
WATSON
(succumbing to the
morphine)
It was worth a wound, worth many
wounds...
Mary steps towards the Doctor, eyes flashing.
MARY
Excuse me --
DOCTOR
(leaving)
I have other... patients.
MARY
Do you really? Doctor.
The Doctor turns just outside the door, to face her.
She's suddenly very angry.
MARY
You have nothing more to say to
me?
DOCTOR
Um... I'll check in on him again
shortly.
MARY
Is that the best you can do? I'm
disappointed, but not surprised.
The Doctor has no words.
MARY
If anything happens to him, both
our lives are lost. Do you
understand that? Can you? --
(CONTINUED)
83B.
93 CONTINUED: (4) 93
The Doctor can't face her anger any longer, turns, leaves
fast.
MARY
-- or are you so selfish that's
just not possible.
84.
93A/93B OMITTED 93A/93B
84A.
94 INT. HOSPITAL - CORRIDOR 94
The doctor strides down the corridor past the policemen.
85.
94A EXT. LONDON - NIGHT 94A
ESTABLISHING SHOT of London, possibly the bustle of Fleet
Street during the morning rush hour. A train crosses on
an overhead railway.
We PUSH IN UNDER the railway arch until we can make out a
splash of white in the shadows -- the Doctor from the
hospital is slumped down against the wall.
We PUSH IN ALL THE WAY, so that we CAN SEE that the
Doctor is actually Holmes.
There is something grotesque about his face, he hasn't
completely removed his disguise. Parts of it hang down,
obscuring him --
-- but not obscuring the light of instability in his
eyes. They begin to overflow with tears. He brushes
them away then looks at his wet hand, horrified.
94B-94E OMITTED 94B-94E
95 INT. PUNCH BOWL PUB - ATTIC 95
Holmes enters, disturbed, pained. Emotions swirling.
He pulls out a newspaper with the story of Standish's
death, the pages and strange sacrificial offerings (bone,
hair, feather, fang) from Sir Thomas' house.
Gathering himself, Holmes stands in the middle of the
bare room and starts to lay out the clues he has on the
floor. The Ox bone directly in front of him (at 12
o'clock). The eagle feather to his right (at 3 o'clock).
The human hair behind him (at 6 o'clock) and the Lion's
fang to his left (at 9 o'clock).
Then with a piece of charcoal Holmes draws a circle
around each image and a circle directly in the center of
the four other circles. He then draws lines which join
the circles together in the shape of a cross.
In the center circle he draws a pentagram (using wax from
a burning candle?). Then he pours a ring of salt around
that circle.
He lights four candles (one at each point of the cross)
then stands in the center of the circle.
He pulls a pocket knife from his coat, opens the blade,
cuts his thumb and allows the drops of blood to drip onto
the ground just outside the circle.
(CONTINUED)
85A.
95 CONTINUED: 95
Then he begins to chant. The words are eerily
reminiscent of Blackwood's chanting.
Suddenly one of the drops of blood bursts into flame in
mid-air -- as it hits the ground, the circle around
Holmes ignites, followed by a larger circle beyond that.
BLACKWOOD (O.S.)
And now it dawns on you, you begin
to recognize your part in his
play.
Holmes snaps around, Blackwood has appeared behind him
within the outer circle of flame.
BLACKWOOD
You see the path he chose for you.
Holmes sways, fuzzy. He struggles to focus on Blackwood.
(CONTINUED)
86.
95 CONTINUED: (2) 95
BLACKWOOD
Didn't you wonder why it was so
easy to catch me? I told you I
needed five lives for my
resurrection. Why would I take a
sixth under St. Paul's?
Holmes shakes his head, he can barely see straight.
BLACKWOOD
Unless I simply wanted to be
caught by the great Sherlock
Holmes...
Blackwood raises a sacrificial sword and swings at
Holmes' head.
BLACKWOOD
... so I could die on the biggest
stage of all. You made me what I
am.
We see --
HOLMES' POV
as Blackwood swings the sacrificial sword at Holmes'
head. It looks as if Holmes has no time to react --
WHOOSH -- the sword WIPES the FRAME --
96 OMITTED 96
97 INT. PUNCH BOWL PUB - ATTIC 97
We see a SERIES OF QUICK CUTS, has Blackwood killed
Holmes, or is he hallucinating, caught in the spell he
conjured?
CUT TO:
A CLOSEUP OF HOLMES
His face covered with earth -- just as we saw Reordon in
his coffin. Holmes' eyes snap open, he breathes in air --
As he comes to life we see events of the recent past
flash through his mind.
BLACKWOOD'S TOMB.
(CONTINUED)
87.
97 CONTINUED: 97
THE STUFF IN REORDON'S ROOM.
THE DEAD RATS.
CUT TO:
A CLOSEUP OF HOLMES
His face submerged in water inside a copper bath tub --
just as we saw Sir Thomas. Holmes' eyes snap open, he
breathes in air --
THE OPENING CONFRONTATION IN THE CATACOMBS.
THE OBJECTS IN SIR THOMAS' SECRET ROOM.
THE PATTERNS HOLMES HAS DRAWN ON THE FLOOR OF THE PUNCH
BOWL.
CUT TO:
A CLOSEUP OF HOLMES
His face engulfed with flames -- just as we saw Standish.
STANDISH FALLING THROUGH THE AIR CRASHING INTO THE
CARRIAGE.
THE SPHINX.
THE RAVEN FLAPPING ITS WINGS.
CUT TO:
HOLMES
Writing and sweating on the bed in the attic. Holmes
sees a hazy image of Irene. She leans over him smiling
sweetly then wraps her hands around his neck and starts
to strangle him.
IRENE SAYING "WHERE'S WATSON WHEN YOU NEED HIM?"
BLACKWOOD IN THE ROOM AGAIN WITHIN THE FLAME CIRCLE.
We SEE WATSON turning to warn Holmes before EXPLODING --
HOLMES!!!!
FADE OUT.
87A.
FADE IN:
98 INT. PUNCH BOWL PUB - ATTIC 98
The sun is rising. Holmes' eyes open and we see:
WATSON -- or some deathly version of his old friend -- is
sitting in the chair where Blackwood appeared.
HOLMES
(confused)
Watson...?
Watson leans closer, into the light. A ghost or a man?
He gestures towards the diagram on the floor.
WATSON
Interesting artwork. You look
bloody awful.
He writes something in his notebook. He is decidedly
alive, but with burn flashes, cuts and bruises. His arm
is in a sling. He's been through it.
In the b.g. Irene is at the fire heating some coffee.
HOLMES
What about the shrapnel in your
arm?
Watson shows him a piece of shrapnel --
WATSON
Took it out myself. Mary said I
had a lousy doctor.
-- then tosses it away.
They both smile. United in agony.
HOLMES
(quietly, between
them)
She brought you here?
WATSON
Yes, oddly, it seems she might
understand the power of
partnership.
They both look back over to Irene who just finished
loading her gun. The coffee seems ready so she pours a
cup.
(CONTINUED)
88.
98 CONTINUED: 98
HOLMES
The fair sex was always your
department, Watson.
Irene walks over and hands Holmes the cup.
HOLMES
Thank you. You know, I dreamt
that you were strangling me.
IRENE
I was... I had to get you to pass
out to settle down.
They smile at their unique, twisted understanding of one
another.
HOLMES
What time is it?
WATSON
It's half past nine.
Holmes takes a drink of coffee.
HOLMES
Excellent brew, but I believe my
head requires something a bit
stronger to clear the --
WATSON
I brought you this...
HOLMES
Exactly.
(CONTINUED)
89.
98 CONTINUED: (2) 98
He hands Holmes his VIOLIN. Holmes takes it.
99 INT. PUNCH BOWL PUB 99
Watson and Irene sit at a table, the SCREECH of a fiddle
now comes from upstairs.
The fiddler's owner -- from the pub's band -- is busy
getting drunk with the money he has acquired.
Irene arrives with two pints, puts one down in front of
him, sits opposite him with the other.
Watson looks from Irene to the pint with open suspicion.
Could it be poisoned? He wouldn't put it past her. But
then he decides that's absurd. He takes a sip.
IRENE
Oh, I poisoned that one.
WATSON
With your own venom no doubt.
IRENE
Better a snake than a lap dog.
WATSON
There's a new field in the
treatment of abnormal
personalities -- it's called
psychology. It appears you're
what's considered a para-neurotic
deviant with anti-social
proclivities. Quite severe. And
untreatable.
IRENE
No, doctor, I'm simply a woman.
(beat)
(MORE)
(CONTINUED)
89A.
99 CONTINUED: 99
IRENE (CONT'D)
Understand that, and you'll have a
happy marriage.
ALTERNATE DIALOGUE:
IRENE
(alternate dialogue)
Not quite, doctor. Let me make it
simple for you, with a lot fewer
words -- I'm what's called a
woman.
(beat)
Understand that, and you'll have a
happy marriage.
100 INT. PUNCH BOWL PUB - ATTIC - ON HOLMES 100
as he plays the violin, but not with a bow. He plucks
it, he strums it, he makes strange atonal sounds, as he
STARES AT THE RITUAL PATTERN he's laid out on the floor.
Flashes to various images of the sphinx that he's
observed over the course of the investigation.
He stands up and draws a sphinx in charcoal on the floor.
Then he moves to the ox bone -- a flash of Sir Thomas'
ring with the Ox crest. He draws an ox in charcoal.
Next to the ox bone Holmes writes -- Sir Thomas -- OX
ring.
Next, he moves to the feather -- a flash to an Eagle in
flight -- he quickly sketches an eagle. Then to an
American flag, then to Standish with his eagle-topped
cane. Next to the feather he writes America.
Then he moves to the hair. He draws a man's face. Flash
to Reordon's red hair. Next to it Holmes writes Man.
Then he moves to a Lion fang. He sketches out a lion --
he thinks -- BUT no flashes. Next to it he writes a big
question mark. Where? Who?
Holmes returns to his violin. Staring at the Lion fang
as if willing the flashes to come.
101 101
INT. PUNCH BOWL PUB
The music stops. Irene and Watson notice the silence.
They swap a glance. A beat. And Holmes emerges.
HOLMES
I need a map of London.
90.
102 INT. PUNCH BOWL PUB - ATTIC 102
Holmes is excited, electric.
HOLMES
Now that you're sitting
comfortably, I shall begin. My
initial approach was far too
narrow. When Blackwood invited me
to Pentonville prison, he
suggested I widen my gaze and, at
minimum, I have done just that.
In fact, I may well have
reconciled thousands of years of
theological disparity. But that's
for another time. Blackwood's
method is based on a ritualistic
mystical system that has been
employed by The Temple of the Four
Orders for centuries. To fully
understand this system, to get
inside it, I re-enacted the
ceremony we interrupted in the
crypt... with a few enhancements
of my own.
WATSON
At minimum.
Watson and Irene shoot Holmes knowing looks.
HOLMES
My journey took me somewhat
further down the rabbit hole than
I had intended.
IRENE
Yes, your little white tail got
rather dirty.
HOLMES
But I have emerged enlightened...
The fraternity who silently
control the Empire, share the
belief with the Kings, Pharoahs,
and Emperors of old that the
Sphinx was a door to another
dimension, a gateway to
immeasurable power --
He tosses Watson the pages from Sir Thomas.
HOLMES
It is made up of four parts: The
Ox, the Lion, the Eagle, and Man --
(CONTINUED)
90A.
102 CONTINUED: 102
He points out the individual parts of the Sphinx,
covering other parts with his hand. We see the Ox body,
Lion paws, Eagle wings, Man's face.
HOLMES
In Sir Thomas' secret chamber I
found the bone of an ox, the tooth
of a lion, the feather of an
eagle, the hair of a man. Map!
Watson throws the map down on the floor, really flying
now.
HOLMES
Now, it is a widely held belief
that within the architecture of
the great cities are coded
references to this system.
He runs his finger over the map tracing the shape of a
cross...
Then he picks up the charcoal and (following the map)
draws a serpentine curve of the River Thames straight
through the middle of the cross that he drew on the
floor.
HOLMES
Since he rose from the grave,
Blackwood has killed three men.
Each murder was committed at a
location that has a direct
connection with the Temple,
therefore the System.
(beat)
Reordon, the ginger midget,
represents Man. We found his body
here...
He points to a spot on the map south of the Thames. It
corresponds to the point on the cross that Holmes drew
that has the hair (6 o'clock).
HOLMES
Then Sir Thomas, Master of the
Temple, wore the ox ring... he
died here...
Again the spot Holmes points is directly north of the
river and corresponds to the point on the cross that has
the ox bone (12 o'clock).
(CONTINUED)
90B.
102 CONTINUED: (2) 102
HOLMES
Standish was Ambassador to
America, where the Eagle has been
the national emblem for over a
hundred years -- and not by
coincidence.
Holmes points to the map.
HOLMES
The headquarters of Temple of the
Four Orders where he died is
here...
He points to corresponding points on the map and on the
cross.
WATSON
Man, Ox, Eagle...
He connects the dots on the map. They form three points
of a cross.
WATSON
And last on the list: the Lion.
Holmes scribbles on a piece of paper. Watson and Irene
step closer looking at the lion's fang and then the
map...
HOLMES
Correspondingly, the map will tell
us the location of Blackwood's
final act. Right here.
Their eyes widen as they realize what they're seeing.
WATSON
Parliament.
IRENE
What is the meaning of this
circle?
Irene indicates the fifth circle Holmes has drawn -- the
point at which the other four come together. They look
to where it would correspond to on the map -- right in
the middle of the river.
HOLMES
It is the fifth element -- the
ethereal. That which can't yet be
known.
(CONTINUED)
91.
102 CONTINUED: (3) 102
WATSON
It's right in the middle of the
River Thames.
BOOM! They hear doors slamming outside, boots echoing.
Irene looks out the window, sees POLICE OFFICERS flooding
the pub.
IRENE
Police.
Holmes folds up his piece of paper, hands it to Watson.
He quickly moves to a hatch in the floor. Flings it
open.
HOLMES
Ladies first.
Irene jumps down. Watson is about to follow her down.
HOLMES
Follow these plans.
Watson goes down. It looks as though Holmes is about to
join them when Lestrade and his men burst into the room.
Holmes kicks the hatch closed and steps towards Lestrade.
102A 102A
INT. PUNCH BOWL PUB - HALL
Holmes races down the hall toward the back door, but the
door EXPLODES inward. Police fill the hall. Holmes
looks back, where more police block his path. He simply
raises his arms, and they drag him away.
103 INT. POLICE CARRIAGE - MID-MORNING (LATER) 103
Holmes sits battered, cuffed and bruised, though we can
see from his face that his spirits are unaffected by his
physical state. Tough-looking cops sit either side of
him, Lestrade sits opposite, shaking his head -- he can't
believe it's come to this. He looks at Holmes.
104 EXT. HOUSES OF PARLIAMENT 104
PULL BACK FROM an image of a GOLDEN LION on a banner.
We're at the Houses of Parliament.
(CONTINUED)
92.
104 CONTINUED: 104
The carriage pulls up. Crowds are gathering outside,
hawkers and tourists, plenty of flags and enthusiasm.
Holmes sees the hands of BIG BEN, climbing toward noon.
105 INT. HOUSES OF PARLIAMENT 105
The place is a hive of activity, preparing for pomp and
circumstance, at its ceremonial best.
All of which is in stark contrast to the battered figure
of Holmes, who is marched through a series of doors and
checkpoints along the corridors of power by an angry-
looking Lestrade. They come to a door. Lestrade knocks.
106 INT. PARLIAMENT - LORD COWARD'S CHAMBERS 106
The door is opened by Lord Coward, who's halfway through
putting on his official robes, and caught off guard by
the sight of Holmes cuffed (hands behind him) and flanked
by Lestrade and men.
LORD COWARD
Lestrade?
LESTRADE
Begging your pardon, m'lord, I
know it's unorthodox, but Mr.
Holmes has been making serious
accusations about you and the
order, sir.
Lestrade pulls his lapel, revealing a temple of four
orders pin.
HOLMES
Oh, that solves the great mystery
as to how you became inspector.
Lestrade punches Holmes.
LORD COWARD
I have five minutes before my next
engagement, why don't you regale
me with your stories of
conspiracies. Thank you,
Lestrade, if you could wait
outside.
Lestrade leaves and shuts the door.
(CONTINUED)
93.
106 CONTINUED: 106
HOLMES
I'm curious, Coward, did you
assist Blackwood in all the
murders or just the one I
prevented? Very distinctive those
hand-made shoes of yours, but the
price of quality is the unique
imprint they leave.
Coward walks towards his desk at one end of the room.
Holmes goes to warm himself by the fire at the other end.
HOLMES
Nonetheless, I confess to being
completely out-matched. I could
deduce very little from my
investigation.
Coward turns away for a moment -- Holmes subtly kicks a
log from the fire, it starts to smolder and fill the room
with smoke.
HOLMES
Fortunately, there is nothing more
stimulating than a case where
everything goes against you. How
many members of parliament do you
intend to murder at noon today?
(beat)
Man, ox, eagle, lion -- the lion
is parliament, isn't it?
Lord Coward slows, looks at Holmes in some astonishment.
LORD COWARD
Very clever. But it's not murder,
Mr. Holmes. It's mercy. We are
giving the weak masses a strong
shepherd. Don't you see it's for
their own good?
Smoke fills the room so that Holmes is concealed. Coward
pulls a gun from the desk and moves to the window. He
opens it to try and clear the smoke.
HOLMES
No, but I don't care much what you
think. I simply wanted to know
the location of Blackwood's final
ceremony, and now you have given
it to me.
LORD COWARD
I have told you nothing.
(CONTINUED)
94.
106 CONTINUED: (2) 106
A pair of handcuffs, slide across the floor to Coward's
feet. He looks up and Holmes is nowhere to be found.
Coward quickly moves across the room to lock the door.
HOLMES
But your clothes say infinitely
more than you ever hope. The mud
smeared on your boots from where
you've been walking...
CLOSEUP ON COWARD'S CLOTHES
That he's changed out of and discarded in the corner of
the room. We see a --
SERIES OF FLASHBACKS
Coward's heel walking through mud.
HOLMES (V.O.)
A touch of red stock brick dust on
your knee, from where you've been
kneeling...
Coward's knee dropping to the ground.
HOLMES (V.O.)
A small bandage on your thumb from
where you've been vowing...
Coward performing a ritual.
HOLMES (V.O.)
A faint aroma of excrement, from
where you have been standing.
Coward, Blackwood, and the Temple members perform a
ritual around a pentagram in the SEWERS. The big
ceremonial sword is prominent.
LORD COWARD (V.O.)
It's a shame you made an enemy out
of Blackwood, Holmes, you would
have made a valuable ally. The
powers at our disposal are far
greater than you can imagine.
HOLMES (V.O.)
You and Blackwood laid the final
touches to your ceremony in the
sewers beneath parliament less
than an hour ago.
(MORE)
(CONTINUED)
94A/94B.
106 CONTINUED: (3) 106
HOLMES (V.O.) (CONT'D)
Both Houses met today. The entire
government will be present.
LORD COWARD
How terrible is wisdom, Holmes,
when it brings no profit to the
wise.
(turning to Holmes)
We take power at noon.
REVEAL Holmes sitting in a chair behind Coward.
HOLMES
Well there's no time to waste
then, is there?
Coward spins around and shoots at Holmes. He misses.
Holmes runs towards the open window as Coward fires
another shot.
With a single bound, Holmes leaps out of the window
Coward opened.
Coward runs to the window and sees Holmes DIVING toward
the river Thames, PLUMMETING down down down to --
107 107
EXT. THAMES - OUTSIDE PARLIAMENT
SPLASH! Holmes dives into the river handcuffed. He
disappears for a moment then surfaces, looks about in the
water. A moment of concern until we hear the familiar
"chug" of a struggling engine.
(CONTINUED)
95.
107 CONTINUED: 107
Holmes looks in the water and sees a rope trailing on the
surface. He grabs it with his hands. And... it pulls
him closer to the rickety boat of Captain Tanner.
Watson stands on the rear deck, pulling Holmes in on the
rope. Irene is also present.
When Holmes is level, Watson leans over and clips off his
cuffs using bolt cutters. Clearly the whole escape has
been planned. Holmes is pulled up into the boat.
TANNER
(to Watson)
I told you he'd be coming out the
top window, soldier boy. No way
he'd be coming over the terrace.
Watson hands over the change from the engagement ring.
Tanner takes it happily.
WATSON
How was Lestrade?
HOLMES
Performed his role perfectly. A
little too perfectly, come to
think of it.
Watson has the PAPER that Holmes gave him in the attic.
WATSON
Well, your instructions were
fairly precise... about everything
except the window.
Tanner smiles, still pleased with himself.
IRENE
Where to, Sherlock?
Holmes points to a dark recess in the embankment.
HOLMES
Port side, Captain Tanner, into
the sewers.
Tanner turns the boat. Irene looks out, her eyes narrow.
HOLMES
Watson, did you bring my clothes?
Watson hands over a pile of clothes and Holmes' PISTOL.
Holmes opens the drum, checks the load, grimaces, pockets
it. He's never going to like guns.
(CONTINUED)
96.
107 CONTINUED: (2) 107
Then Holmes reaches inside a pocket of clothes he is
still wearing, and pulls out the hip FLASK that he took
from the men at the slaughterhouse. He takes a shot.
IRENE
Starting early, aren't we?
He offers the flask to her.
HOLMES
Trust me, have a drink.
She can see this is more than a social invitation, she
takes a hit, pulls a face. Holmes nods towards Watson,
Irene passes him the bottle. He drinks, grimaces, hands
it on to Tanner, who swallows it without flinching, wipes
his mouth, smiles. The boat is almost at the sewers.
WATSON
What are we doing in the sewers?
HOLMES
Patience, Doctor. I am about to
show you...
As they head toward the sewers, Holmes glances up toward
Big Ben, the time moving toward noon.
107A 107A
EXT. HOUSES OF PARLIAMENT - DAY
Expensive carriages fill the courtyard. The entire
government is here. We see familiar faces from the
Temple of Four Orders, heading into this epic building.
108-109 OMITTED 108-109
110 INT. SEWERS - BOAT 110
Tanner's boat, unlit, floats at the opening to the
tunnel, on the edge of the darkness.
TANNER
Far as I can go.
Holmes and Watson leap off the boat into the mouth of the
sewer. Irene follows. (Watson has his SWORD STICK and a
GUN, Holmes has changed into the clothes Watson brought
for him.)
They move through the shadowy sewer tunnels, working
their way around corners and through junctions back under
the Houses of Parliament.
(CONTINUED)
97.
110 CONTINUED: 110
Holmes ducks around a corner, stops. Irene and Watson
flank him, standing in shadows. They look down a long
tunnel to:
The area where Coward and Blackwood were seen in the
flashback ceremony with the sword. But now:
Blackwood's THUGS patrol the area. In the center, the
pentagram remains. But there is something sitting in it,
a futuristic device:
HOLMES
Behold, Blackwood's magic.
A black glass cylinder is housed in a metal cradle with
electrodes on either side. It sits below a shattered
ceiling, bricks dismantled, exposing a VENTILATION PIPE.
Holmes looks back at Watson and Irene. Quiet:
HOLMES
A chemical weapon. The first of
its kind. Cyanide, to be precise.
WATSON
You can tell that from here?
HOLMES
No. I can tell it from here.
He pulls something out of his pocket: the RAT TAIL.
HOLMES
I snipped this off a rather
recumbent rat at the
slaughterhouse. Note the blue
discoloration, the faint smell of
bitter almonds. Tell-tale signs
of cyanide.
He points at the device and the exposed shaft over it.
HOLMES
That shaft leads directly to
Parliament. When activated, those
electrodes on either side will
send a charge converting the
cyanide powder into a gas.
IRENE
All of the people inside that
building --
WATSON
Will be dead at the strike of
noon.
(CONTINUED)
98.
110 CONTINUED: (2) 110
HOLMES
As if by magic. There will be no
one left to stop Blackwood and his
followers from assuming control.
The CAMERA MOVES THROUGH the shattered ceiling, UP a
channel, DOWN a bend, all the way through a GRATE TO --
110A INT. PARLIAMENT - DAY 110A
Air blows UP through the grate. The chamber is now full
of Lords and senior Royals. As they start to take seats,
Lord Coward steps up, checks the crowd. He sees a shadow
up in the Lords' Gallery.
111 111
OMITTED
112 INT. SEWERS - DAY 112
Holmes checks his watch.
HOLMES
Seven minutes to twelve...
They nod. Shoulder-to-shoulder, they move down the
tunnel, faster and faster.
Irene trails them closely.
Watson slides his sword stick into a loop on his belt.
It's there when he needs it, out of the way otherwise.
They draw their guns.
They burst into the area, completely surprising the three
thugs.
Watson pistol-whips the nearest. Holmes front-kicks the
next.
The third thug looks down the barrels of both their guns
before he has a chance to fight or flee.
HOLMES
I wouldn't.
He doesn't. Irene comes in behind them and heads
straight for the device.
WATSON
I'll keep these under wraps.
(CONTINUED)
99.
112 CONTINUED: 112
HOLMES
Take this.
Holmes hands Watson his gun. Gun in each hand, Watson
herds the three thugs away from the device.
WATSON
Over there.
Sullen, but without much resistance, they move away (two
dragging the pistol-whipped one, who is out). Watson
turns so that he can watch the action at the device --
-- which puts his back to another tunnel.
Holmes joins Irene at the device. She grips her knife,
looking for a way to detach the CYLINDER from the CRADLE
(where electric coils and circuits pulse).
IRENE
I've never seen anything like it.
HOLMES
There's never been anything like
it. A totally wire-free weapon.
He must have some kind of remote
device sending a signal to the
receiver. Really quite --
She reaches out with her knife and... ZAP! Her blade
hits a coil, sparks flashing. Electrocuted, she drops
the knife, which falls into the cradle, surrounded by
humming, sparking coils.
Irene recoils, sees something past Holmes --
RACK PAST HOLMES TO WATSON --
Where DREDGER LOOMS OUT OF THE DARK BEHIND HIM, both
hands held high to grab the guns and smash Watson.
Before Irene can alert him, Watson's wrists are crushed
from behind. Dredger jerks Watson's arms sideways,
sending both guns spinning away --
-- Holmes's gun splashes into the sewer.
Dredger spins Watson around, head-butts him with a teeth-
rattling blow, flings Watson away like a discarded paper
cup.
Now unguarded, the two conscious thugs charge Holmes and
Irene.
(CONTINUED)
100.
112 CONTINUED: (2) 112
Irene shoots one point blank with her Derringer, Holmes
crushes the other's larynx.
HOLMES
(to Irene)
Keep at it.
Holmes goes for Dredger.
113 INT. PARLIAMENT - DAY 113
Lords and Royals sit in this august hall, waiting for the
session to begin. Coward looks up, and points, very
emphatically.
LORD COWARD
Look.
All eyes rise to see: BLACKWOOD, up in the Lords'
Gallery. The hall goes silent, staring at a ghost.
Blackwood is calm, commanding.
Voices rise; Blackwood's followers move to block the
doors as --
BONG! The first CHIME OF NOON from Big Ben.
114 114
INT. SEWERS - DAY
The chime echoes. Dredger charges towards the device and
Irene. Holmes flies into him feet-first, deflecting him
for a moment.
It is now clear that Dredger's sole purpose is to protect
the device.
Irene sits at the device, trying to figure out how to
defuse it.
BONG!
The second chime resounds. Dredger grabs Holmes, thrusts
him upwards against the sewer roof, simultaneously
strangling him and hammering him against the bricks hard
enough to dislodge some.
Holmes lashes out with his feet at Dredger -- who doesn't
even bother to block anything. Holmes' kicks lose steam
as he loses air.
BONG!
(CONTINUED)
101.
114 CONTINUED: 114
IRENE
(without looking up)
Nine strokes left.
Dredger grins --
-- until he is earholed from behind by two bricks, swung
with full force by Watson.
Dredger drops Holmes, staggers back holding his bleeding
ears. Holmes heads back to Irene.
Watson draws the sword from his sword stick. Deadly
enough, but not very big.
WATSON
You owe me for the ring.
Dredger backs off, as if scared of the sword -- but only
until he can reach up and pull Blackwood's ceremonial
sword down off a brick ledge. This is going to be more
uneven than usual.
BONG!
As Watson parries Dredger's massive slashes and thrusts
all around them, only just keeping Dredger at bay --
-- Holmes sees that the cylinder is welded onto the
cradle by two RODS. His eyes narrow, a plan forming.
HOLMES
Give me your gun. The bullets, I
need the bullets.
BONG! The clock is ticking down.
Irene pops open her Derringer, slides the bullets into
Holmes' hand. He chops open the bullet casings with his
knife, pouring the gunpowder into --
-- the bowl of his pipe.
BONG!
Watson ducks a whooshing cut, lunges with his little
sword, sticks it into the meat of Dredger's bicep.
Dredger grunts angrily, flexes his bicep, rips the sword
out of Watson's grasp with his muscle, then he pulls it
out, snaps the blade against the wall like a twig, and
moves in to cut Watson in two with the ceremonial sword
from head to toe.
Watson dives desperately, gets a haircut from the sword --
(CONTINUED)
102.
114 CONTINUED: (2) 114
-- which shatters against the floor.
While Watson is down, Dredger punts him into the sewer
with a splash, then turns back to the device.
BONG!
114A OMITTED 114A
115 INT. HOUSE OF LORDS 115
Blackwood has lit four small red candles, placed them on
the balustrade in front of him. He calmly intones a
familiar chant. Lords are on their feet. Guards are
banging outside the doors, but the doors are locked.
Members of the Temple of Four Orders stand in front of
anyone going to open them.
116 116
INT. SEWER TUNNEL - DAY
Holmes rips the stem off his pipe, places the open end of
the bowl against the bolt holding the cylinders in place.
Shaped charge, Victorian-style.
HOLMES
We need a light, a match --
Irene's eyes narrow, seeing something in the cradle: her
KNIFE. She rolls up a sleeve.
IRENE
Got it...
Which is when a blood-maddened Dredger thunders into them
both, arms wide, driving Holmes and Irene away from the
device --
-- hammering them into the wall with a mighty thud. Then
he braces his massive feet, angles his huge legs and
pushes, squeezes them against the wall like a human vice.
That's the extent of Dredger's plan, and it will work for
long enough because --
BONG!
IRENE
(breath crushing out
of her)
Three.
(CONTINUED)
103.
116 CONTINUED: 116
ON THE DEVICE AS IT GOES ACTIVE
The batteries begin to fizz madly, cams turn, gears
ratchet past each other. Bad news.
WATSON (O.S.)
Hey!
Dredger turns his head so that he can see Watson, on his
belly, crawled from the sewer -- where he found HOLMES'
GUN.
BAM! BAM! BAM! BAM! Four white phosphorous tracers
strobe through the sewer, stitch a line down Dredger's
back (aimed so as not to hit Holmes or Irene on the
through-and-through) --
-- and continue to burn inside Dredger. He lurches away,
eyes bulging, mouth wide with a silent scream.
BONG!
IRENE
Two!
Holmes and Irene stagger for the device.
Fizzling, boiling inside, the dying giant falls like a
tree.
Watson is face-down on the stones, still. The gun falls
out of his limp hand.
Irene swipes her hand down into the cradle, just barely
avoiding the sparks and coils, snatching her blade,
and...
ZAP! A spark hits the blade, and she angles the blade,
redirecting the spark toward --
Holmes' pipe, which BLOWS WITH A VICIOUS CRACK! The
shaped charge shears the steel rods.
Holmes and Irene reach for the cylinders.
BONG!
116A 116A
OMITTED
117 INT. HOUSE OF LORDS - DAY 117
Blackwood stands on balcony looking down at the assembled
Lords.
(CONTINUED)
104.
117 CONTINUED: 117
BLACKWOOD
You seem surprised. Did you
really take me for a man who could
be dispatched like a truculent
servant? I see before me a
conspiracy of arrogant old men
puffed up by the illusion of their
own vainglory. In your hands this
once great parliament has become
nothing more than a drunken satyr,
stumbling about the world's stage
seeking nothing more than to
satiate your own lust and
gluttony; your britches stained by
the incontinence of your
hypocrisy. I will not sit idly by
and watch you violate the
innocence of the public trust as
you drag this great Empire into
the quagmire that your pride has
dug and filled with the excrement
of your corruption. I am here to
change all this.
He raises his hand and traces a circle in the air. A
circle of flame erupts on the opposite wall.
BLACKWOOD
I am the fourth horseman.
He raises his hand and traces a triangle in the air. A
triangle of flame erupts on the opposite wall.
BLACKWOOD
I am the pale rider.
He raises his hand and traces a second triangle in the
air. The second triangle of flame erupts on the opposite
wall to complete the pentagram within the circle.
BLACKWOOD
And my name to you is death.
117A 117A
INT. SEWER TUNNELS - DAY
ZZZZP! The electrical charge zaps through the device,
electrodes sizzle, sending blinding sparks through the
cradle.
Holmes and Irene RIP the cylinder out of the way just
as... the sparks collide in a blinding flash and...
104A.
117B EXT. BIG BEN - DAY 117B
BONG! The clock strikes twelve.
117C INT. PARLIAMENT 117C
The men wait for something mythic, magical. And...
Nothing happens. Nothing at all. They look around.
Everyone is still standing. Coward looks confused,
scared. Other Temple members eye him.
Blackwood hits the remote again. But again, nothing
happens. WE SEE something new in his eyes: fear. He
ducks away fast, disappearing into the gallery.
117D 117D
OMITTED
118 INT. SEWER JUNCTION - DAY 118
Holmes and Irene look each other in the eye. For the
first time, neither knows what to say.
IRENE
That was something new for us.
HOLMES
Yes... it was.
She looks past Holmes.
IRENE
Watson --
(CONTINUED)
105.
118 CONTINUED: 118
Holmes whips around -- sees Watson, seemingly dead. He
goes to him, drops to his knees next to Watson, feels for
a pulse.
With his face still pressed to the stones:
WATSON
I'm pretty sure I heard the last
chime.
Holmes looks down at his friend, relieved.
HOLMES
Yes, we made it. Just.
Watson rolls over, sits up. He's done, had enough.
HOLMES
Come on, you've got to admit,
you're going to miss this.
WATSON
Which part? The stench of the
sewers or the broken bones?
(beat)
My ankle's done.
Watson looks around.
WATSON
Where's Irene?
Holmes turns, looks. The cylinders are gone, and so is
Irene. His face darkens. He misread her yet again.
WATSON
Holmes, I'm sorry...
Holmes sees Irene's lithe shadow moving fast into a maze
of tunnels. He motions to the disabled device.
HOLMES
Make sure Lestrade keeps it
intact.
Watson nods. He watches Holmes sprint into the darkness,
face grim.
118A 118A
INT. HOUSES OF PARLIAMENT - DAY
Blackwood flashes downward through the ornate official
understory of the Houses, heads for a staircase
spiralling even further down.
106.
118B INT. SEWER TUNNELS - DAY 118B
Irene hears Holmes' angry footsteps behind her, turns,
sees a flash of movement through the labyrinth of tunnels
and columns. She picks up speed.
CUT TO:
ANGLE FROM THE SIDE
Blackwood enters the maze of tunnels, hears, then sees
Irene sprint across the maze, about 500 yards away.
Then Holmes.
Blackwood follows them. Sees something on the ground
ahead -- pauses.
It's WATSON'S SWORD STICK, flung there from the previous
action with Dredger.
Blackwood scoops it up.
118C 118C
INT. SINGLE SEWER TUNNEL - DAY
Panting, Irene runs along a tunnel that steps lower --
-- and pinches tighter. A large-diameter water pipe
angles down the tunnel wall, forcing Irene to turn
sideways to continue.
The sound of Holmes' footsteps drives her forward.
And then the tunnel ends. The water pipe breaks off
jaggedly in mid-air, next to Irene's head.
The continuation of the pipe passes through solid brick
at the end of the tunnel -- a dark, claustrophobic
gamble. Irene hesitates for a moment, then slithers into
the pipe, into the unknown.
118D INT. PIPE - DAY 118D
The pipe angles down, damp, horrible. For a long moment
it is pitch black, pinched down. Irene's quick, anxious
breath the only point of reference.
This is as tight, subterranean, dark and nightmarishly
claustrophobic as it gets.
Then, almost imperceptibly, light.
We can make out Irene's determined profile. Light
increases, and so does Irene's rate of movement.
107.
118E INT. CELLAR - DAY 118E
The pipe emerges from the brick wall in what looks to be
the cellar of a building. Stonework fairly new.
Dim daylight from an unseen opening shows a fixed ladder
heading upwards. Irene accelerates for it.
118F INT. PIPE - DAY 118F
Holmes grimaces, enters the pipe, shimmies TOWARDS us.
An even tighter fit for him.
118G INT. CELLAR - ON THE LADDER - DAY 118G
Irene -- climbing with one hand, cylinders in the other --
reaches an iron grate, has to use all her strength to
shoulder it aside. As fit and athletic as she is, this
is a grind.
118H 118H
INT. HOLLOW BUILDING - DAY
Irene emerges at the base of a dark, hollow building full
of construction equipment, and sees, yes --
-- more stairs, upward. The only ready way out.
Gritting her teeth, chest heaving, Irene charges the
stairs --
118I INT. CELLAR - DAY 118I
-- just as Holmes pops out of the pipe, vaults onto the
fixed ladder and swarms up it. Anger lends him energy.
118J INT. HOLLOW BUILDING - DAY 118J
IN A SERIES OF TIME JUMPS MARKED BY INCREASING
EXHAUSTION:
Irene finally makes it to a floor in the building that is
flooded with sky-bright daylight.
She surges for light -- a brick-framed window -- and --
SMASH CUT TO:
108.
118K EXT. TOWER BRIDGE - HELICOPTER SHOT - REVERSE ANGLE - 118K
DAY
OF IRENE at the top of TOWER BRIDGE. She's climbed up
the inside of the Tower. She's 250 feet above the
Thames.
We've gone straight from maximum claustrophobia to
maximum knee-buckling exposure.
PULL BACK and SWEEP INTO a massive, NEAR 360-DEGREE
HELICOPTER SHOT that starts with Irene at the
(unfinished) window --
-- then shows the skeletal bridge spanned tenuously with
scaffolding --
-- then the glory of London, the center of the world,
laid out for us in breathtaking, spectacular beauty --
-- and returns to Irene as, recovered somewhat -- she
darts onto the walkway scaffolding that crosses above the
Thames.
119-119G OMITTED 119-119G
119H EXT. TOWER BRIDGE - WALKWAY - DAY 119H
Irene works her way through the construction debris on
the bridge. She makes it to the end, no further to go.
SHERLOCK
Woman!
Sherlock appears behind her, winded.
SHERLOCK
It's bad manners to leave without
at least saying `goodbye.'
Irene turns.
IRENE
Goodbye!
He start to move towards her. She whips out her gun.
IRENE
You of all people know I will pull
this trigger.
They circle around each other.
(CONTINUED)
109.
119H CONTINUED: 119H
IRENE
I'd tell you I'm sorry, that I
wish things could be different but
you wouldn't believe me anyway.
HOLMES
Why hurry off, give it a try.
He moves in again. She shoots him in the arm.
And in that split second --
Blackwood drops down from behind Irene, HITS her with
WATSON'S SWORD STICK. She drops, stunned. As she falls,
Blackwood plucks the cylinder out of her hand, and kicks
her gun away. Her gun goes flying off the side of the
bridge. But Irene doesn't pause:
She swings her legs through the air, trying to take out
Blackwood's knees. But he swipes her legs away, and
KICKS DOWN and --
IRENE FALLS OFF THE BRIDGE.
BLACKWOOD
You're better off without her,
Holmes!
High above: a RAVEN lands.
(CONTINUED)
110.
119H CONTINUED: (2) 119H
EXT. TOWER BRIDGE - WALKWAY - DAY
A look between them and then it's on. Holmes grabs a
short section of wooden batten out of the railing.
Flimsy, no match for the sword --
-- which is immediately apparent as Blackwood comes in,
slashes, chops six inches off the batten.
BLACKWOOD
I planned to kill a handful of
senile old men to make this empire
strong... but now because of you
thousands are going to die.
Holmes is on the defensive throughout, but, as before,
his target is the cylinder first, Blackwood second, self
defense third.
BLACKWOOD
All I have to do is break this
cylinder. The wind will do the
rest. And you'll be the first.
The two men continue their swordfight: Holmes grabs some
rope hanging from the scaffolding above and swings off
the bridge. Blackwood steps to the edge with his sword
out, awaiting Holmes. Holmes swings towards the blade
and then pushes off the bridge once again to avoid it.
Holmes swings back onto the bridge a few feet away from
Blackwood. He lands, whips off his scarf and twirls it
around Blackwood's arm, binding them together. They
continue to spar, now bound.
Blackwood snarls, mounts a frenzied attack, which Holmes
simply tries to survive. The two men finally part, with
Holmes cast off towards the end of the bridge.
Blackwood smiles. He grabs Holmes' gun (which Blackwood
knocked from Irene's hand earlier).
Blackwood fires at Holmes. Holmes quickly ducks. The
bullet misses him, but hits a bucket twirling above his
head. A black liquid (tar) begins to pour out in a
circle around him.
Holmes turns, as if to flee (not that there's anywhere to
go) -- his eyes lock on to something. He looks back to
Blackwood.
-- Holmes kicks a huge scaffolding plank, which falls --
-- whipping a coil of rope across the floor, hooking
Blackwood around his ankle.
(CONTINUED)
110A.
119H CONTINUED: (3) 119H
Blackwood is DRAGGED down the walkway by the weight of
the falling plank, pulled toward the edge.
Holmes grabs the cylinders as Blackwood passes.
Blackwood digs his fingers into a gap, screeching to a
painful halt. His fingers are white from strain. Holmes
remains cool.
HOLMES
There was never any magic. Only
conjuring tricks.
Above Holmes: the raven starts PECKING at a rope.
HOLMES
The simplest involved paying
people off, like the prison
guard...
Holmes looks over the edge of the walkway. He sees the
plank swinging dangerously in the storm. Blackwood
strains desperately to hold on. As Holmes steps closer
we INTERCUT with relevant FLASHBACKS.
HOLMES
(guard choking/
payoff)
Who pretended to be possessed
outside your cell. Your
reputation and your jailers' fear
did the rest.
(burial ground/
licking rocks)
Others required more elaborate
preparation, like the sandstone
slab that covered your tomb. You
had it broken before your burial
then put back together using a
mild adhesive. An ancient
Egyptian recipe I believe -- a
mixture of egg and honey.
Designed to be washed away by the
rain or eaten by animals.
(bath/Reordon
flashback)
Arranging for your father to drown
in his own bathtub required more
modern science. Very clever of
Reordon to find a paralytic that
was activated by the combination
of copper and water and was
therefore undetectable once the
bath water was drained.
(MORE)
(CONTINUED)
110B.
119H CONTINUED: (4) 119H
HOLMES (CONT'D)
That might have been quite
challenging had he not also tested
it on some unfortunate amphibians.
(Standish in rain/
pulling the trigger/
wharf explosion)
The death of Standish was a real
mystery, until you used the same
compound to blow up the wharf. An
odorless, tasteless, flammable
liquid -- yet it burned with an
unusual pinkish hue. Did Standish
mistake it for rain as he entered
your Temple? All it took was a
spark. A simple rigged bullet in
his gun. Ingenious.
(Parliament/flask/
ceremony, dev ice)
Like all great performers you
saved your piece de resistance for
the end. Had it worked, your
followers in Parliament would have
watched unharmed as their
colleagues were dying around them.
They didn't know that you had
given them the antidote -- at one
of your ceremonies I suspect.
Instead, they would have believed
it was magic and that you
harnessed the ultimate power.
END FLASHBACKS.
(CONTINUED)
111.
119H CONTINUED: (5) 119H
Blackwood struggles to hold on, he loses his grip for a
second and is dragged back toward the precipice. Wind
whips harder.
Holmes doesn't notice: The Raven's rope SNAPS, starting
a slow, subtle DOMINO EFFECT IN B.G.: a bucket drops,
hits a row of standing timbers. The timbers start to
topple.
(NOTE: Each time one object strikes another, we hear a
faint musical note moving up the same pentatonic scale
that Holmes played earlier for his flies.)
HOLMES
You hated your father and the
other members of the Temple of the
Four Orders for what they did to
you. How satisfying it must have
been to use their own system
against them.
IN B.G.: We see the slow, inexorable dominoes continue
to fall. The last timber falls over the edge, lands on a
rope. The rope yanks down a crane, the crane swings,
strikes another crane...
BLACKWOOD
Cut me loose, Holmes!
Blackwood's eyes are full of fear. Holmes thoughtfully
looks out at the angry storm, the atmosphere electric and
dangerous. Holmes gives the slightest hint of a smile.
HOLMES
You better hope that it's nothing
more than superstition as you
performed all the rituals
perfectly.
Holmes looks around at the gathering storm.
Blackwood can hold on no longer. He screams as he
releases his grip and is torn down the walkway at
breakneck speed.
Quick as a snake, Holmes grabs a workman's ax placed on
the side and hurls it at his feet, cutting the rope.
Blackwood's imminent death is brought suddenly to a halt.
The storm grows in ferocity. Holmes bends down,
Blackwood is on his knees, cowed.
(CONTINUED)
112.
119H CONTINUED: (6) 119H
HOLMES
First, the world will see you for
what you are. Then you will
hang... properly this time.
Blackwood looks up. CRACK! The crane dislodges a METAL
GIRDER, which misses Holmes by inches as it crashes
through the floorboards --
Blackwood smirks.
BLACKWOOD
We'll see about that shall we.
It's a long journey from here to
the rope.
CREAK. Holmes looks up. Blackwood looks up.
HOLMES
We'll see about that shall we.
BANG! The top of the crane crashes down. The wooden
infrastructure supporting Blackwood falls away.
Sending Blackwood falling into a lattice of HANGING
CHAINS below. Blackwood screams as the chains begin to
snap off one by one. He falls farther... and farther...
and finally --
SNAP! The last chain CATCHES, TIGHTENS around
Blackwood's neck, killing him instantly.
Blackwood dangles on the rusty chain, hanged like a
common man after all, with Tower Bridge as his gibbet.
Holmes just stands there, stunned. He looks out to see:
the RAVEN flying away, a silhouette against the stormy
sky. The bird flaps its wings, disappearing into a
cloud.
His brow furrows. Perhaps there really are some things
that cannot be explained.
Holmes looks over the side of the bridge, sees:
IRENE is awkwardly splayed on the lower level. She
appears to be dead, possibly a small trickle of blood is
coming out of her mouth. Holmes moves down to her. He
takes her hand.
HOLMES
Oh, Irene...
His fingers move to take her pulse.
(CONTINUED)
112A.
119H CONTINUED: (7) 119H
Her eyes pop open.
Irene makes a quick move: she tries to CUFF him. But
this time, Holmes is ready for it:
He reverses the move, cuffing her instead. He takes a
seat next to her.
They sit there for a beat, an odd lovers' moment looking
out over the Thames.
IRENE
It looks like rain.
HOLMES
We've still got a moment.
A bit of a smile and break.
IRENE
You were right, he is a professor.
Moriarty. Key's in the watch
pocket.
(CONTINUED)
113.
119H CONTINUED: (8) 119H
Holmes reaches over to grab the key. Their faces close,
near a kiss. Holmes drops the keys down the top of her
shirt (just as she dropped them down his pants). He
snatches the DIAMOND from around her neck, turns and
walks away. She smiles, calls out:
IRENE
You'll miss me, Sherlock.
HOLMES
Sadly, yes.
Holmes walks away, pauses to pick up Watson's sword
stick, keeps walking.
At the end of the top of the stairs. Holmes hands the
Cylinder to one of the policemen.
120-122 OMITTED 120-122
122A EXT. TOWER BRIDGE - DUSK 122A
Rain falls softly.
LESTRADE
It'll be a hell of a trick if
Blackwood comes back from this
one.
HOLMES
Thank you, Lestrade.
LESTRADE
Now you're going to be even more
arrogant and insufferable than
ever.
Then Lestrade cracks a smile.
LESTRADE
You're welcome, detective.
(beat)
Is the woman up there?
HOLMES
She won't be by the time your boys
get there.
Holmes keeps moving into the night. The storm curls
around him, the rain falling hard. And he sees...
(CONTINUED)
113A.
122A CONTINUED: 122A
A shadow is waiting for him. We recognize the figure of
WATSON. Holmes can't help but smile. He joins Watson,
no words spoken.
Holmes holds out Watson's sword stick. Watson takes it.
The two of them stand looking out down the Thames.
114.
123 EXT. 221 BAKER ST. - DAYS LATER 123
MOVING DAY. Mary and Watson walk towards 221B. A DRIVER
loads Watson's boxes into a CARRIAGE that waits in front
of the apartment.
WATSON
One moment.
Watson takes a quick look in one of the boxes.
WATSON
Please make sure this one is put
on the desk in the front room.
MARY
What's in all those notebooks?
WATSON
Nothing really... Just a few
scribbles... cases we've worked on
over the years.
MARY
All your adventures... I'd love to
read them sometime.
Watson laughs then pauses for a moment to consider this
idea before they enter.
123A 123A
INT. 221 BAKER ST. - STAIRCASE
As Watson and Mary climb the stairs, it becomes clear
that Mary now wears IRENE'S DIAMOND on her finger.
Holmes had it made into an engagement ring.
WATSON
I still can't believe he's given
us that ring.
MARY
Do you think he's finally come to
terms with you leaving?
WATSON
Of course. No question about it --
123B INT. 221 BAKER ST. 123B
Watson opens the door of Holmes' apartment revealing a
horrific scene: Holmes is hanging from a rope, his back
to them. He looks dead.
(CONTINUED)
114A.
123B CONTINUED: 123B
WATSON
Don't panic, dear.
Watson and Mary step in but do nothing to help Holmes.
WATSON
Suicide is not in his repetoire,
he's far too fond of himself.
Watson pokes him. Turns him around.
HOLMES
Good afternoon. I was trying to
deduce the manner in which
Blackwood survived his execution.
Clearing your good name, as it
were. But it had a surprisingly
soporific effect and I was carried
off in the arms of Morpheus, like
a caterpillar in a cocoon.
WATSON
Get on with it, Holmes.
HOLMES
Cleverly concealed in the
hangman's knot was a hook -- I
believe my legs have fallen
asleep. I should probably come
down.
MARY
Shouldn't you help him, John?
WATSON
I hate to stop when he's on a
roll. Do carry on, Holmes.
Watson and Mary walk by.
HOLMES
The executioner attached it to a
harness, thus allowing the weight
to be distributed around the waist
and the neck to remain intact. My
lord, I can't feel my cheeks.
Might we continue this at ground
level?
WATSON
How did you manage it, Holmes?
(CONTINUED)
115.
123B CONTINUED: (2) 123B
HOLMES
I managed it with braces, belts
and a coat hook. Please, Watson,
my tongue is going next. I'll be
of no use to you at all.
WATSON
Worse things could happen.
MARY
John.
Watson draws his sword.
WATSON
But none of this explains the lack
of a pulse.
He finally uses his sword stick and slices Holmes down.
Holmes tumbles to the ground.
HOLMES
There is a toxin refined from the
nectar of the rhododendron
ponticum. It is quite infamous in
the region of Turkey bordering the
Black Sea for its ability to
induce an apparently mortal
paralysis. Enough to mislead a
medical mind even as tenacious and
well-trained as your own. It is
known locally as --
MARY
What's wrong with Gladstone?
HOLMES
-- mad honey disease.
CLOSEUP OF WATSON'S DOG
Stiff as a board.
HOLMES
He is demonstrating the very
effect I've just described. He
doesn't mind.
WATSON
His heart should be ticking in no
time.
(CONTINUED)
116.
123B CONTINUED: (3) 123B
Watson feels for a pulse in his dog's neck -- he shakes
his head. They are interrupted by a knock on the door.
Constable Clark enters.
CONSTABLE CLARK
Mr. Holmes... Inspector Lestrade
asks that you come with me, right
away.
HOLMES
What is it this time, Clarky?
CONSTABLE CLARK
It's one of our sergeants, sir.
He went missing in the sewers, the
day you stopped Lord Blackwood...
Well, a maintenance man found his
body this morning. We believe the
sergeant was our first man on the
scene. Shot in the head.
HOLMES
Were there powder burns on his
eyebrows?
Clarky nods.
CONSTABLE CLARK
Yes.
WATSON
Point blank range.
HOLMES
With small caliber bullet.
CONSTABLE CLARK
Indeed.
HOLMES
Moriarty.
Holmes and Watson look at each other -- complete change
of demeanor -- mind racing, looking concerned.
The dog has regained its vital signs.
MARY
There's a brave boy... There,
there, everything's going to be
all right.
WATSON
Where is Blackwood's device now?
(CONTINUED)
116A.
123B CONTINUED: (4) 123B
CONSTABLE CLARK
The secret service has it, sir.
They've taken over the case.
CLOSEUP ON HOLMES AND WATSON
Piecing it together:
HOLMES
I'd wager there's a piece missing.
Constable Clarke nods. Holmes pulls his coat on.
WATSON
So you're saying Moriarty was
after a part of the machine and
not the poison.
Watson nods.
HOLMES
The wire-free invention was the
game all along. Imagine being
able to control any device simply
by sending a command via radio
waves.
WATSON
Adler was just a diversion.
Mary looks at Watson who is clearly trying to curb his
enthusiasm and interest.
A KNOCK. The Driver pokes his head in.
DRIVER
(to Watson)
I've loaded the last of your
boxes, sir.
Watson nods, the Driver exits. Watson turns to Holmes.
WATSON
Well...
HOLMES
I'll leave with you. Clarky, case
reopened.
124 124
OMITTED
116B.
125 FLASHBACK - INT. SEWER JUNCTION 125
We FOLLOW POLICEMEN heading into the sewer tunnel.
They spread out to seal the crime scene, where Holmes had
dismantled Blackwood's device.
CONSTABLE CLARK (V.O.)
We believe Sergeant Smith was the
first officer there.
SERGEANT SMITH sees a POLICEMAN leaning over the device.
SERGEANT
Oi, what you doing?
The policeman looks up, and a GUN slides into his hand by
means of the same device we saw in the carriage scene
with Irene. We don't see his face.
CONSTABLE CLARK (V.O.)
Shot in the head.
BANG!
117.
126 INT. 221 BAKER ST. (PRESENT) 126
HOLMES
Were there powder burns on his
eyebrows?
Clarky nods.
CONSTABLE CLARK
He was shot at point-blank range.
Holmes and Watson look at each other -- complete change
of demeanor -- mind racing, looking concerned.
The dog has regained its vital signs.
WATSON
There's a brave boy... There,
there, everything's going to be
all right.
HOLMES
Where is Blackwood's device now?
CONSTABLE CLARK
The secret service has it, sir.
They've taken over the case.
CLOSEUP ON HOLMES AND WATSON
Piecing it together:
WATSON
I'd wager there's a piece missing.
HOLMES
Wager, Watson... I thought those
days were behind you. Excellent
deduction, however.
CUT TO:
FLASHBACK - THE POLICEMAN
removes a small receiver-like object from Blackwood's
device.
BACK TO PRESENT
Constable Clark nods. Holmes pulls his coat on.
(CONTINUED)
117A.
126 CONTINUED: 126
WATSON
Moriarty was after the machine not
the poison.
Holmes nods.
HOLMES
Blackwood's wire-free invention
was the game all along. It is
undoubtedly the more dangerous and
the more valuable of the two...
(wistful)
Irene was just a diversion.
Mary looks at Watson who is clearly trying to curb his
enthusiasm and interest.
A KNOCK. The MAN from the stairs pokes his head in.
MAN
(to Watson)
I've loaded the last of your
boxes, sir.
Watson nods, the Driver exits. Watson turns to Holmes.
WATSON
Well...
HOLMES
I'll walk out with you...
118.
127 EXT. 221 BAKER ST. - DAY 127
Mary and Gladstone wait for Watson in the carriage.
Holmes and Watson stand in the doorway. A stiff beat.
Holmes extends an awkward hand.
HOLMES
An honor working with you, Doctor.
Watson shakes Holmes' hand, puts a hand on his arm. A
warm look, an understanding between the two men.
WATSON
Take care of yourself, Holmes.
Watson moves to the open door of the carriage but Mary
stops him.
MARY
Try not to be too late for dinner
with my parents and... be careful.
She waves to Holmes as the carriage pulls away. Watson
looks relieved and excited.
HOLMES
Magnificent woman, Watson.
Magnificent!
They climb into Constable Clarke's black mariah which
pulls away down Baker St. We PULL BACK FROM the carriage
WIDE and UP like our opening on Baker Street -- perhaps
the POV of the raven.
FADE OUT.
THE END